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KARL  GUTZKOWS  SHORT  STORIES 
A  STUDY  IN  THE  TECHNIQUE  OF  NARRATION 

BY 

DANIEL  FREDERICK  PASMORE 

A.  B.  Albion  College,  1913. 
A.  M.  University  of  Illinois,  1914 


THESIS 


Submitted  in  Partial  Fulfillment  of  the  Requirements  for  the 

Degree  of 

DOCTOR  OF  PHILOSOPHY 

IN  GERMAN 

IN 

THE  GRADUATE  SCHOOL 

OF  THE 

UNIVERSITY  OF  ILLINOIS 
1917 


KARL  GUTZKOW'S  SHORT  STORIES 
A  STUDY  IN  THE  TECHNIQUE  OF  NARRATION 


BY 


DANIEL  FREDERICK  PASMORE 

A.  B.  Albion  College,  1913.^. 
A.  M.  University  of  Illinois,  1914 


THESIS 
Submitted  in  Partial  Fulfillment  of  the  Requirements  for  the 

Degree  of 

DOCTOR  OF  PHILOSOPHY 

IN  GERMAN 

IN 

THE  GRADUATE  SCHOOL 
OF  THE 

UNIVERSITY  OF  ILLINOIS 
1917 


PREFACE 

The  author  has  been  actuated  during  the  preparation  of  this  work 
by  the  beUef  that  there  is  a  definite  place  for  a  critical  survey  of  Karl 
Gutzkow's  short  stories  and  he  modestly  hopes  to  draw  some  measure 
of  attention  to  this  writer's  less  comprehensive  but  still  deserving  ef- 
forts. He  is  desirous  also  of  expressing  his  gratitude  to  Professor  Otto 
Eduard  Lessing  of  the  University  of  Illinois  under  whose  guidance  the 
work  was  done;  to  Professor  Julius  Goebel  of  the  University  of  Illinois 
for  numerous  suggestions  and  valuable  assistance;  and  to  Professor 
Lawrence  M.  Price  of  the  University  of  California  for  reading  the  manu- 
script and  for  offering  many  helpful  criticisms. 

D.  F,  Pasmore. 
Southwestern  College,  Kansas. 

June  1918. 


TABLE  OF  CONTENTS 

Page 

Introduction v 

The  Novelle 1 

1.  The  Theory  of  the  Novelle 1 

2.  The  Novelle  Prior  to  1835 8 

The  Young  German  Movement 12 

GuTZKOw's  Position  in  Literature 19 

Purpose  of  the  Dissertation 22 

GuTZKOw's  Literary  Theory 24 

Contents  of  the  Short  Stories 30 

The  Point  of  View 43 

Motives 46 

Subjectivity 63 

Means  of  Characterization 68 

1.  External  Characterization 68 

2.  Inner  Characterization 75 

a)  The  Character  Sketch 75 

b)  Minor  Actions 78 

c)  Contrast 80 

d)  Peculiarities  of  Speech 83 

e)  Opinions  of  Others 85 

Environment 90 

Plot 101 

Conclusion 115 

Bibliography 118 


INTRODUCTION 

The  short  story,  or  the  novelle,  is  a  form  of  literature  which  has  been 
widely  cultivated  in  Germany  within  the  past  century.  Within  this 
space  of  time  it  has  risen  from  obscurity  and  literary  vagabondage  to  a 
recognized  genre  with  respectable  connections  and  reputable  sponsors. 
From  Goethe  through  Kleist,  Tieck,  Storm,  Keller,  Meyer,  and  Heyse, 
as  well  as  a  host  of  less  known  authors,  the  upward  journey  has  taken 
place. 

Karl  Gutzkow,  whose  noveUen  are  to  be  considered  from  the  stand- 
point of  a  study  in  the  technique  of  narration,  was  a  prominent  author 
for  many  years  and  in  many  forms  of  literary  endeavor.  He  is  indis- 
solubly  associated  with  the  group  known  in  German  literature  as  "Young 
Germany,"  and  is  in  more  ways  than  any  other  the  most  representative 
writer  of  the  number  who  composed  this  unique  coterie  and  also  the 
most  gifted  of  its  members  within  Germany. 

Before  proceeding  directly  to  an  analysis  of  his  technique  as  ex- 
hibited in  his  novellen,  a  resume  will  be  given  of  the  development  of  the 
theory  of  the  novelle,  a  summary  of  its  characteristics  as  seen  in  the 
works  of  certain  of  its  leading  exponents  prior  to  1835  will  be  undertaken, 
an  outline  of  the  nature  of  the  "Young  German"  movement  will  be  pre- 
sented, and  Gutzkow's  relation  to  this  revolution  in  the  world  of  letters 
will  be  considered. 

Following  these  introductory  portions  Gutzkow's  hterary  theory  as 
found  in  certain  of  his  writings  upon  this  subject  will  be  briefly  dis- 
cussed, after  which  the  analysis  of  his  noveUen  will  be  taken  up  under 
numerous  headings,  with  the  object  in  view  of  discovering  the  position 
which  should  be  accorded  to  him  as  a  writer  of  this  species. 


CHAPTER  I 

The  Novelle 

1.  The  Theory  of  the  Novelle 

The  short  story,  or  the  novelle,  as  the  German  name  for  this  genre 
is,  is  commonly  designated  as  a  product  distinctively  characteristic  of 
the  nineteenth  century.  The  acceptance  of  this  general  statement  does 
not  preclude  an  acknowledgement  of  the  existence  in  earlier  centuries 
of  stories  which  by  all  canons  of  criticism  must  fall  within  this  classifi- 
cation, nor  does  it  claim  for  the  writers  of  this  period  the  discovery  or 
the  invention  of  a  new  literary  form  hitherto  unknown,  but  it  does  carry 
with  it  the  conviction  that  as  a  recognized  form  and  one  that  has  been 
cultivated,  ennobled  and  perfected  the  novelle  is  in  a  pecuKar  sense  a 
nineteenth  century  production.  Between  those  who  would  urge  that 
the  novelle  is  in  no  wise  a  modern  ty^t  of  narrative  and  their  opponents 
who  maintain  that  it  is  a  form  absolutely  new,  there  is  a  mean  which 
sees  in  all  ages  the  presence  of  the  short  story  but  perceives  that  the 
century  now  past  was  one  justly  remarkable  for  great  attainments  in 
the  popularity,  perfection  of  technique,  and  wide  development  of  this 
species.    This  is  the  view  which  is  held  by  the  writer. 

In  the  preceding  paragraph  the  terms  short  story  and  novelle  have 
been  used  as  though  they  were  synonymous.  In  reality  they  are  not. 
The  term  novelle  is  broader  in  scope.  To  mention  but  one  distinction, 
the  American  short  story  is  rigid  in  its  demand  for  extreme  brevity  and 
compactness.  The  German  critic,  less  severe  in  his  demands,  readily 
classifies  as  "novellen"  many  stories  that  the  American  terms  "long 
short  stories"  and  is  embarrassed  as  to  where  to  place.  Unless  stated 
otherwise  specifically  the  more  comprehensive  meaning  will  be  consid- 
ered as  applying  to  both  terms. 

While  admitting  the  presence  in  all  literatures  and  at  all  times  of 
narratives  possessing  some  and  in  rare  cases  many  or  indeed  all  of  the 
quahties  now  considered  essential  to  the  short  story,  perceiving  in  fairy 
tales,  moral  stories,  anecdotes,  jests,  and  the  like  forerunners  which 
extend  far  back  even  to  the  Middle  Ages,  in  many  instances  being  handed 
down  from  generation  to  generation  by  oral  tradition,  nevertheless  it 
was  reserved  to  the  nineteenth  century  to  produce,  define,  and  bring  to 
its  full  recognition  and  rightful  inheritance  the  artistic  genre  in  question. 
As  a  conscious  type  of  literary  product  the  works  of  such  writers  as  Keller, 


2  KARL  GUTZKOW'S  SHORT  STORIES 

Storm,  C.  F.  Meyer,  and  Heyse  differ  essentially  from  the  collections 
extant  prior  to  the  year  1800.^ 

In  German  literature  it  may  be  freely  asserted  that  the  novelle  is 
one  of  the  youngest  literary  forms.  The  name,  itself  of  foreign  deriva- 
tion, underwent  a  process  of  naturalization  extending  from  its  use  in 
1523  in  the  Italian  form  novella  by  Pamphilius  Gengenbach  until  the 
latter  part  of  the  eighteenth  century  when  it  began  to  be  used  as  a  Ger- 
man word.  Early  references  to  the  term  emphasize  the  element  of 
novelty  contained  in  its  meaning.  Lessing  coined  the  word  (1759) 
nonvellenschreiberin  in  his  "Briefe  die  neuesten  Literatur  betreflend, 
53, "  with  reference  to  a  French  writer,  Mme.  Gillot  de  Saintonge.  He 
is  also  the  first  to  employ  it  in  the  singular  in  German,  and  from  him 
appears  to  date  as  well  the  first  indication  of  the  close  relationship  be- 
tween drama  and  novelle,  a  point  emphasized  so  highly  by  many  modern 
theorists.^ 

Wieland  in  1764  speaks  in  his  "Don  Sylvia  von  Rosalva"  of  the 
"Arabischen  und  Persianischen  Erzahlungen,  und  die  novellen  und 
Feenmarchen"  and  appends  a  lengthy  explanation  of  the  term,  showing 
that  it  was  not  in  familiar  usage.  When  in  1805  he  again  uses  it  in  his 
"Novella  ohne  Titel, "  he  offers  neither  apology  nor  explanation.  To 
Wieland  also  we  owe  the  first  considerable  attempt  at  a  definition  of 
the  term  roman  and  novella.  To  the  latter  he  ascribes  a  "simplicity  of 
plan"  and  a  "small  compass  of  fable"  (kleiner  Umfang  der  Fabel), 
which  is  indeed  promising,  but  after  all  fails  to  arrive  anywhere  since 
he  concludes  lamely  by  speaking  of  the  novella  as  "this  sort  of  short 
novel."  The  difficulty  which  Wieland  experienced  in  his  attempts  at 
definition  was  precisely  that  which  all  critics  of  the  last  quarter  of  the 
eighteenth  century  were  confronted  with.  They  failed  to  see  in  the 
novelle  a  distinct  t>'pe.  They  thought  that  the  difference  between  novel 
and  short  story  was  purely  a  quantitative  one.  The  truth  is  that 
neither  form  had  yet  secured  a  place  for  itself,  and  that  prose  fiction 
occupied  a  position  of  so  low  esteem  that  it  had  scarcely  attained  the 
dignity  of  being  ranked  as  literature.  The  chap-books  and  folk  tales, 
Meissner's  "Skizzen"  (1778-96),  and  Goethe's  "  Unterhaltungen  deut- 
scher  Ausgewanderter "  (1795),  which  the  modern  student  of  literature 

'  Fiirst,  R.  Vorliiufer  der  novelle  im  achtzehuten  Jahrhundert. 

^  The  writer  is  greatly  indebted  to  Dr.  McBurney  ISIitchell's  dissertation  entitled 
"Paul  Heyse  and  his  Predecessors  in  the  Theory  of  the  Novelle"  for  the  historical 
sketch  given  of  the  theory  of  the  novelle  and  desires  to  acknowledge  this  at  once  without 
specific  reference  to  each  point  thus  obtained. 


KARL  GUTZKOW  S  SHORT  STORIES  3 

regards  as  very  evidently  containing  the  beginnings  of  the  German 
novelle  were  simply  ignored  by  serious  critics. 

There  was  then  no  theory  of  the  short  prose  tale  developed  in  Ger- 
many up  to  the  close  of  the  eighteenth  century.  The  term  novella  was 
used  exclusively  with  reference  to  foreign  literatures  and  only  infre- 
quently. The  term  erzdhlung  covered  all  prose  fiction  except  the  novel 
and  the  only  distinction  perceived  by  critics  between  roman  and  novelle 
was  that  of  quantity. 

The  first  attempt  to  set  off  the  novelle  as  an  independent  literary 
genre  and  to  formulate  for  it  a  definite  theory  came  with  the  Schlegels. 
In  the  ''Athenaeum  Fragments"  (1798),  A.  W.  Schlegel  strikes  the  key 
note  in  the  demands  made  upon  this  species,  the  same  demands  which  are 
made  in  substance  in  Heyse's  theory  and  held  to  be  valid  by  the  best 
productions  of  the  present  day,  when  he  requires  that  it  be  novel  and 
striking. 

Strangely  enough  also  the  Romanticists,  characterized  though  their 
Hterature  is  generally  by  a  lack  of  attention  to  matters  of  external  form, 
nevertheless  did  the  novelle  good  service  on  the  strictly  technical  side. 
When  they  turned  away  from  things  modern  and  directed  their  gaze 
toward  the  Middle  Ages,  which  they  found  more  congenial  to  their 
fancy,  they  very  fortunately  rediscovered  the  novelle  as  it  was  revealed 
in  its  highest  development  as  the  expression  of  the  genius  of  the  two 
masters  of  mediaeval  romance,  Cervantes  and  Boccaccio.  The  clear- 
cut,  conscious  technique  of  the  "Decamerone"  was  in  striking  contrast 
to  the  looseness  of  structure  then  prevalent  in  German  literature  and 
represented  at  its  fullest  development  in  the  works  of  Jean  Paul.  It  was 
precisely  the  needed  antidote.  Romanticism  was  searching  for  a  new 
outlet  of  expression.  The  Romantic  movement  and  the  Romance 
novelle  had  one  quality  in  common,  a  love  for  the  miraculous  and  the 
marvelous.  This  proved  sufficient  to  draw  the  two  together  altho  the 
manner  of  treatment  which  each  employed  was  different,  the  Roman- 
ticists preferring  to  treat  their  subjects  subjectively  and  lyrically,  the 
Romance  novelle  on  the  other  hand,  with  its  predecessors  back  to  the 
days  of  the  Pharaohs,  being  essentially  epic  and  objective.  This  dis- 
tinction, however,  was  not  felt  by  the  German  Romanticists.  The 
affinity  of  both  for  the  miraculous,  the  unusual  and  the  unique,  over- 
shadowed all  dissimilarities  of  literary  technique. 

Hence  it  was  that  Friedrich  Schlegel  was  able  to  proceed  to  an  analysis 
of  the  ItaHan  novella  without  departing  from  his  principles  as  a  thorough- 
going Romanticist.     His  criticisms  along  this  line  are  the  embodiment 


4  KARL  GUTZKOW'S  SHORT  STORIES 

of  his  belief  in  the  subjective  in  art.  His  contribution  to  the  theory  of 
the  novelle  lies  in  his  attempt  at  a  definition.  He  demands  that  the 
story  shall  itself  be  new  or  else  that  the  telling  shall  be  done  in  a  novel 
manner.  Whether  the  plot  be  old  or  new,  novelty  either  in  subject  or  in 
treatment  is  a  prime  requisite.  The  reader  must  at  all  events  be  inter- 
ested and  the  story  must  be  in  a  form  adapted  to  that  end.  A  second 
point  of  technique  discussed  is  the  presence  of  paradox  or  contrast,  which 
Friedrich  Schlegel  considers  a  necessary  feature,  and  which  has  indeed 
characterized  tales  of  this  genre  from  the  days  of  Boccaccio  to  our  own 
day.  The  distinction  between  roman  and  novelle  he  left  untouched  as 
had  also  earlier  critics.  Both  forms  existed  for  him  only  as  vehicles  for 
the  expression  of  the  poet's  subjectivity. 

A.  W.  Schlegel  in  his  "  Vorlesungen  iiber  schone  Literatur  und  Kunst " 
set§  forth  his  conception  of  the  office  and  function  of  the  novelle.  It  is 
that  of  describing  the  remarkable  occurrences,  of  which  he  says  our  daily 
Hfe  is  full,  which  are  treated  neither  in  political  history  as  such  nor  in 
poetry  with  historic  background,  and  yet  which  by  virtue  of  their  being 
at  once  typical  and  out  of  the  ordinary  deserve  being  recorded  in  some 
fashion.  Prose  must  necessarily  be  the  medium  employed,  poetry  being 
unsuitable  for  dealing  with  actuality,  which  is  the  subject  of  both  roman 
and  novelle. 

A.  W.  Schlegel  emphasizes  also  the  relationship  existing  between 
novelle  and  drama  and  mentions  capability  of  dramatization  as  a  test 
that  might  be  applied.  Dramatic  structure,  definite  turning  points, 
concentration  of  treatment  that  permits  of  no  leisurely  development  of 
character,  these  are  ear  marks  of  the  novelle. 

The  manner  of  relation  which  he  holds  to  be  the  ideal  of  style  for  the 
novelle  is  that  of  the  cultivated  raconteur.  In  this  he  is  in  agreement  with 
the  view  of  his  brother,  Friedrich  Schlegel,  and  also  with  the  practice  of 
Boccaccio  in  his  "Decamerone"  and  of  Goethe  in  his  "  Unterhaltungen 
deutscher  Ausgewanderten. " 

Goethe's  famous  definition  of  1827,  "Was  ist  die  Novelle  anders  als 
eine  sich  ereignete,  unerhorte  Begebenheit, "  is  the  first  contribution 
of  importance  to  the  theory  of  the  novelle  following  the  work  of  the 
Schlegels.  This  brief  statement  is,  however,  the  result  of  an  investiga- 
tion extending  back  apparently  as  far  as  1795.^  At  that  time  in  the 
definition  of  the  erzdhlung  which  the  Baroness  gives  in  the  "  Unterhalt- 
ungen  deutscher  Ausgewanderten"  we  have  the  essentials  of  the  later 

^  Cf.  McBumey  Mitchell,  Goethe's  Theory  of  the  Novelle.  The  Publications  of 
the  Modern  Language  Association,  June  1915. 


KARL  GUTZKOW  S  SHORT  STORIES  5 

Statement.  He  demands  for  the  erzdhhmg  a  unity  approaching  that  of 
a  poem  and  also  that  the  form  of  the  story  shall  be  such  as  to  show  that 
we  are  in  good  society.  The  high  social  origin  of  the  novelle  is  thus 
opposed  to  the  more  vulgar  source  of  the  scbwank  and  the  fabliau.  In 
the  two  tales  which  follow  the  Baroness's  speech,  "Der  Prokurator" 
and  the  "  Ferdinand-Novelle, "  Goethe  has  given  examples  that  con- 
form to  his  definition,  at  the  same  time  that  he  elevated  the  "moral 
tale"  and  the  Familiengemdlde  from  the  low  estate  to  which  they  had 
fallen.  Lack  of  psychological  penetration  had  been  perhaps  the  greatest 
defect  of  these  two  types  of  stories.  Goethe  broadened  and  deepened 
this  aspect  of  these  two  novellen  and  thus  added  immensely  to  their 
artistic  perfection.  He  pushed  aside  also  the  old  and  mechanical  division 
into  good  and  bad  and  showed  that  a  character  although  bespotted  by 
sin  may  nevertheless  be  worthy  of  our  consideration. 

The  first  of  Goethe's  works  to  appear  with  the  title  Novelle  was  the 
story  of  "die  Wunderlichen  Nachbarskinder, "  which  possessed  that  as 
a  subtitle.  Finally  in  1827  "  die  Novelle  "  was  given  to  the  public.  Both 
of  these  conform  to  the  requirements  of  the  famous  definition.  The 
latter,  Goethe  unable  to  find  a  suitable  name  for,  concluded  to  allow  to 
stand  bearing  the  name  of  its  genre  as  an  exemplary  novelle,  a  proceeding 
that  he  had  earlier  paralleled  in  the  "Marchen"  in  the  "Unterhalt- 
ungen."  The  elements  of  novelty  and  surprise,  and  of  contrast  and 
paradox,  all  within  the  realm  of  reality,  are  perfectly  illustrated  in  this 
example  of  its  sort. 

The  technical  discussion  of  the  novelle  is  next  continued  by  Ludwig 
Tieck.  Like  his  predecessors  Tieck  finds  that  the  novelle  must  center 
around  an  unusual  theme.  This  theme  must  be  thrown  into  sharp  relief 
by  a  clearly  marked  turning  point,  which  brings  the  story  to  an  unex- 
pected, but  under  the  given  circumstances,  perfectly  natural  conclusion. 
The  conception  of  the  turning  point  is  fundamental  for  Tieck's  thought. 
Both  for  setting  the  novelle  apart  as  a  genre  and  for  keeping  individual 
stories  separate  in  the  reader's  mind  it  appealed  to  him  as  a  technical 
device  of  the  first  importance.  Aside  from  this  Tieck  makes  no  strict 
demands  as  regards  form  but  permits  the  author  to  mold  the  structure 
according  to  whim  or  caprice,  a  backward  step  in  technique. 

On  the  side  of  content  Tieck  approached  realism.  He  deemed  the 
present  worthy  of  poetic  treatment,  saw  in  the  world  of  his  own  time 
the  element  of  the  wonderful  and  the  miraculous  which  the  Romanticists 
sought  for  in  past  ages,  and  was  rather  modern  in  his  attitude  toward 
the  world.     In  this  and  in  his  discussions  of  themes  poHtical,  social, 


6  KARL  GUTZKOW  S  SHORT  STORIES 

religious,  and  esthetic,  in  his  criticisms  and  polemics,  he  joined  forces 
with  the  "Young  Germans."  Dialogue  in  the  form  of  discussion  and 
debate  plays  a  large  part  in  his  own  novellen.  The  question  of  the 
aflfinity  existing  between  the  drama  and  the  novelle,  which  A.  W.  Schlegel 
had  treated,  was  not  considered  by  Tieck.  He  believed  the  gulf  between 
the  two  forms  to  be  impossible  of  bridging.  Tieck's  final  importance 
lies  in  his  being  the  first  among  critics  to  raise  the  novelle  as  a  literary 
form  to  a  pre-eminent  and  independent  position  in  Hterature. 

With  Theodor  Mundt  there  was  added  a  most  valuable  contribution 
to  the  theory  of  the  novelle,  viz.,  a  sharp  distinction  between  the  novelle 
and  the  roman.  The  principal  points  of  difference  as  developed  by  him 
were  as  follows:  the  novelle  is,  he  finds,  only  an  episode  from  the  novel 
of  life,  an  incident  taken  from  a  succession  of  incidents,  complete  and 
rounded  in  itself.  The  novel  consists  of  a  chain  of  incidents,  the  novelle, 
on  the  other  hand,  is  the  circumference  of  a  circle,  issuing  from  itself, 
and  returning  to  itself,  and  existing  for  itself  only.  The  conclusion  of 
the  novelle  is  one  predetermined  from  its  beginning,  one  that  proceeds 
organically  from  the  arrangement  of  the  material.  The  novel  is  more 
free  in  its  ending.  The  conclusion  is  only  one  of  a  number  of  incidents. 
Whereas  the  interest  in  the  novelle  lies  mainly  in  the  outcome,  in  the 
novel  it  is  found  to  lie  in  the  progress  and  changing  circumstances  of  the 
action.  The  novel  begins  from  the  beginning  and  builds  up,  the  novelle 
plunges  into  a  situation  at  a  tension,  and  proceeds  to  the  catastrophe  or 
to  a  satisfying  conclusion. 

The  matter  of  bulk  is  considered  by  Mundt  to  be  unessential.  Defi- 
nite advance  in  criticism  is  to  be  found  in  his  figure  of  the  straight  line 
and  of  the  circle  drawn  about  a  given  point.  He  contributes  definitely 
also  at  another  angle,  viz.,  he  contends  that  the  characters  of  the  novelle 
are  fixed,  those  of  the  novel  are  developing. 

Thus  for  Mundt  the  novelle  was  a  species  separate  and  apart  from  all 
other  literary  genres.  Built  up  around  a  central  theme,  it  is  rounded 
to  a  definite  close,  which  is  organically  inherent  in  the  central  theme 
and  determined  by  it.  It  deals  with  a  single,  self-centered  situation, 
which  it  brings  to  a  definite  conclusion  at  the  close,  and  at  this  point 
differs  essentially  from  the  novel,  which  deals  with  a  series  of  situations 
and  closes  as  it  may.  Mere  bulk  has  nothing  to  do  with  the  essential 
nature  of  the  story.  The  relationship  of  novelle  to  drama  and  the  element 
of  paradox  contained  in  the  novelle,  questions  which  all  his  predecessors 
had  considered,  Mundt  failed  to  take  into  account  at  all.    His  theorizing 


KARL  GUTZKOW  S  SHORT  STORIES  7 

represents,  however,  the  best  statement  of  the  nature  of  the  novelle 
made  up  to  that  time. 

Laube,  another  member  of  the  "Young  Germans,"  also  attacked 
the  problem.  Four  times  he  attempted  to  define  this  species,  whose 
innate  realism  strongly  attracted  him,  but  each  time  he  failed  to  find  a 
definition  adequately  covering  all  its  forms.  The  lack  of  form  in  the 
products  of  his  contemporaries  he  could  not  see  or  acknowledge  and  hence 
he  suffered  from  confusion.  Aesthetic  standards  he  is  common  with 
those  of  his  group  did  not  hold  to  be  binding.  Willingness  to  sacrifice 
form  to  content  if  the  latter  were  only  in  accord  with  the  spirit  of  the 
time  hindered  clear  visualization  of  the  nature  of  the  novelle. 

Other  writers  not  connected  with  "Young  Germany,"  viz.,  Grill- 
parzer,  Hebbel,  Wolff,  Georg  von  Reinbeck,  and  Hermann  Hettner, 
continued  the  discussion  until  1850.  The  latter  two  possessed  definite 
and  clear  views  upon  the  nature  of  the  novelle  but  added  nothing  new  to 
the  discussion  although  their  direct  criticism  is  refreshing  in  the  period 
of  uncertainty  and  formlessness  which  prevailed  during  the  "Young 
German"  regime. 

Gutzkow's  contribution  to  the  theory  of  the  novelle  is  not  great  and 
will  be  discussed  elsewhere. 

Spielhagen  presents  two  criteria  as  outstanding  for  determining 
whether  a  work  is  a  novelle:  (1)  capabihty  of  dramatization,  (2)  the 
characters  must  be  fixed  and  not  developing  characters. 

With  Paul  Heyse's  discussion  the  latest  and  most  authoritative 
statement  that  has  yet  been  reached  is  probably  attained.  The  demands 
which  this  critic  and  most  exemplary  writer  of  the  novelle  of  recent  years 
makes  comprise  the  following.  (1)  The  right  of  the  author  to  treat 
his  main  theme  as  an  isolated  case  without  involving  human  standards 
in  general  and  moral  standards  in  particular.  (2)  While  the  content 
may  be  what  it  may,  the  bounds  of  reahty  must  not  be  overstepped. 
(3)  The  ugly  and  the  hateful  must  not  be  introduced.  (4)  All  means 
used  must  serve  one  definite  end.  A  single  and  central  theme  must 
receive  intense  concentration  in  all  its  "onesidedness  and  isolation." 
(5)  The  use  of  the  catchwords  "silhouette"  and  "falcon"  signifying  the 
idea  of  an  isolated,  well-rounded  structure  possessing  a  definite  central 
theme.  (6)  The  psychological  element  is  strongly  stressed.  (7)  The 
manner  of  telling  is  that  of  the  cultivated  story  teller  in  pohte  society. 
(8)  Objectivity  is  a  major  demand  upon  the  novelle.  (9)  Because  the 
novelle  is  essentially  realistic,  prose  is  its  proper  medium  of  expression. 


8  KARL  GUTZKOW'S  SHORT  STORIES 

The  absence  of  any  discussion  of  the  relation  of  drama  and  novelle 
and  of  the  importance  of  chance  (Zufall)  is  noteworthy  in  Heyse's  criti- 
cisms. 

Thus  the  theory  of  the  technique  of  the  novelle  has  passed  through 
a  century  and  more  of  critical  development.  Starting  from  very  vague 
and  shadowy  conceptions  which  confused  novelle  and  roman  and  dis- 
tinguished between  the  two  only  as  to  differences  of  bulk,  it  has  closed 
temporarily  with  the  novelle  occupying  a  unique  position,  a  clearly 
defined  genre,  treating  a  specific  central  theme,  and  taking  its  basis 
from  reality. 

2.  The  Novelle  Prior  to  1835 

In  practice  the  German  novelle  as  it  existed  during  the  closing  years 
of  the  eighteenth  century  and  the  first  third  of  the  nineteenth  embraces 
a  wide  range  in  both  form  and  content.  The  transgression  of  virtually 
all  the  canons  of  Uterary  criticism  that  have  been  deduced  by  critics  of 
this  genre  and  conformity  in  marked  degree  to  the  same  are  both  to  be 
found.  The  writers  whose  works  are  outstanding  and  show  clearly 
the  characteristics  and  progress  of  this  form  as  a  literary  type  in  the 
years  preceding  "Young  Germany"  are  Goethe,  Schiller,  certain  of  the 
Romanticists,  Kleist,  and  Tieck. 

Briefly  the  novelle  as  thus  exemphfied  shows  three  fundamental 
forms  depending  upon  the  purpose  of  the  authors,  a  three  fold  division 
that  is  still  considered  by  all  critics,  viz.,  that  of  character  portrayal, 
the  effort  to  obtain  emotional  effect,  and  the  desire  to  instruct.  In 
other  words  the  three  tj-pes  are  the  psychological,  the  story  of  mood  or 
atmosphere  (Stimmungsgeschichte'),  and  the  didactic. 

Goethe,  Kleist,  and,  to  a  certain  extent,  Schiller,  as  is  to  be  seen  in 
the  "Verbrecher  aus  verlorener  Ehre,"  are  chiefly  concerned  with  the 
development  of  psychological  problems  and  of  interesting  characters. 
Both  Goethe  and  Kleist  followed  the  direction  indicated  by  Boccaccio. 
A  very  noticeable  characteristic  of  the  former's  (Goethe's)  novellen  is 
the  almost  painful  exactness  and  the  detail  with  which  psychological 
changes  are  estabHshed.  The  action  and  the  thoughts  of  the  characters 
are  thus  explained.  For  Kleist  also  the  psychological  problem  furnished 
the  center  of  interest.  External  happenings  are  always  pressed  into  the 
aid  of  character  development.  Situations  serve  to  reveal  the  characters' 
real  selves.     Each  novelle  deals  with  its  definite  problem. 

The  Romanticists  looked  to  Boccaccio  and  Cervantes  for  their 
models  also,  and  their  greatest  service  lay  in  their  ardent  advocacy 


KARL  GUTZKOW'S  SHORT  STORIES  9 

of  these  foreign  writers  as  proper  examples  for  imitation.  They  them- 
selves were  not  in  a  position  to  follow  closely  those  whom  they  so  highly 
regarded  owing  to  the  subjectivity  of  their  school,  which  mitigated 
against  adherence  to  any  given  form.  Jean  Paul's  "Romantic  Irony" 
tended  to  estrange  them  also  in  their  practice  from  any  devotion  to 
compactness  of  form.  Unlike  Goethe  they  showed  no  desire  to  make 
characters  and  human  beings  the  end  and  aim  of  their  art  and  they  treated 
no  psychological  problems.  Their  domain  was  rather  that  of  the  fairy 
tale,  which  made  no  strict  demands  but  permitted  the  play  of  fancy  and 
was  not  dependent  upon  the  law  of  cause  and  effect.  Lack  of  inner  co- 
hesion and  of  unity  in  both  action  and  characters  is  characteristic  of 
their  stories,  a  few  notable  exceptions  being  Achim  von  Arnim's  "Der 
toUe  InvaHde  auf  dem  Fort  Rattoneau,"  Bretano's  "Geschichte  vom 
braven  Kasperl  und  dem  schonen  Annerl, "  and  Eichendorff's  "Aus  dem 
Leben  eines  Taugenichts. "  The  latter  two  are  what  are  known  in 
German  as  "  Stimmungsgeschichten. "  The  novellen  of  E.  T.  A.  Hoff- 
mann are  also  essentially  Romantic,  if  the  aim  of  that  school  be  considered 
as  an  effort  to  produce  moods,  to  give  free  rein  to  the  author's  subjec- 
tivity and  permit  him  to  place  his  fantastic  dream  world  above  the  world 
of  reality.  Everything  is  dominated  by  his  personaHty,  and  his  peculiar- 
ities and  idiosyncrasies  show  clearly  in  his  works.  Double  characters, 
persons  at  war  with  themselves,  are  common.  Supernatural  powers 
play  oftentimes  roles  of  importance.  His  characters  view  the  world 
in  an  unusual  way  and  are  themselves  regarded  as  dreamers  or  as  in- 
toxicated. The  wonderful  and  the  impossible  enter  frequently.  Sus- 
pense is  obtained  and  held  in  a  remarkable  degree,  in  this  way  recalhng 
the  methods  of  eighteenth  century  storytellers.  Hoffmann's  primary 
object  is  not  to  portray  character  development  nor  to  depict  interesting 
human  relationships  but  rather  to  appeal  to  the  emotions  of  fear,  dread, 
and  anguish,  less  frequently  those  of  joy  and  freedom. 

As  a  form  of  art  that  dealt  with  a  problem,  that  considered  the 
present,  and  that  held  to  a  rigid  form,  the  novelle  was  thus  led  astray 
by  the  Romanticists.  In  introducing  the  element  of  mood  and  empha- 
sizing that,  they  did,  however,  exert  a  marked  influence  upon  later 
writers  as  Keller  and  Storm. 

The  real  progress  of  the  novelle  is  to  be  found,  however,  in  the  works 
of  two  writers  who  stood  in  a  certain  opposition  to  the  Romanticists, 
Heinrich  von  Kleist  and  Tieck  during  his  later  years. 

The  novelle  as  it  developed  under  Kleist  proceeded  along  the  lines 
pointed  out  by  Goethe  and  Boccaccio.     As  previously  stated  Kleist's 


10  KARL  GUTZKOW'S  SHORT  STORIES 

art  was  both  psychological  and  dramatic.^  The  center  of  interest  is 
always  the  psychological  problem,  and  all  action  is  made  to  reveal 
character.  Each  novelle  shows  clearly  by  its  rigid,  dramatic,  composition 
that  the  author  was  a  dramatist.  The  introduction,  made  rapidly  in 
a  few  lines,  leads  directly  to  the  action  which  proceeds  smoothly  and 
without  digressions  to  the  climax  and  thence  to  the  conclusion.'  All 
superfluities  are  strictly  excluded  by  this  dramatic  unity  of  structure. 
Observations  of  the  sort  common  in  "  Wilhelm  Meister"  and  descriptions 
of  nature  as  in  Rousseau  and  "  Werther"  are  absent.  Direct  character- 
ization is  found  to  an  exceedingly  limited  extent.  Objectivity,  repres- 
sion of  the  author's  individuality,  reality,  mark  Kleist's  novellen  and 
sharply  separate  them  from  those  of  the  Romanticists. 

The  latin  classic  writers  and  Goethe  are  even  more  clearly  and  con- 
sciously the  models  whom  Tieck  follows.  His  words  upon  the  theory 
of  the  novelle  point  this  out."  The  form  which  he  attained  to  differs, 
however,  greatly  from  that  reached  by  Kleist. 

Tieck  resembles  Kleist  in  his  desire  to  treat  definite  problems.  In- 
stead, however,  of  treating  psychological  problems  of  universal  human 
interest,  he  concerns  himself  rather  with  the  abnormal,  the  half  patholo- 
gical, and  imparts  to  his  discussions  a  philosophical  trend.  He  did  not 
depart  completely  from  Romanticism.  His  characters  suffer  from  h}-po- 
chondria,  fanaticism,  and  are  otherwise  not  normal.  Following  Cervan- 
tes, for  whom  he  had  a  special  liking,  his  novellen  possess  didactic  ten- 
dencies, contain  criticism  of  his  time,  views  upon  aesthetic,  religious, 
social,  and  political  movements,  and  attacks  upon  tendencies  which 
he  considered  to  be  either  sickly  or  harmful.  Thus  the  decadent  Roman- 
ticism and  the  authors  of  "Young  Germany"  are  objects  of  his  satire  and 
enmity. 

The  importance  of  the  turning  point  for  Tieck's  novelle  composition 
has  been  told.^  Chance,  miracle,  intervention  of  supernatural  powers, 
play  a  role  oftentimes  in  the  denouement  of  his  stories.  The  dialogue 
is  of  the  utmost  value  also  for  Tieck's  technique.  It  serves  two  main 
purposes,  first,  to  furnish  the  characterization,  as  when  various  persons 
discuss  another  of  the  characters,  or  speech  mannerisms  are  employed, 
or  the  characters  express  opinions  which  betray  what  manner  of  persons 

<Cf.  p.  15. 

'  Henrietta  K.  Becker.  Kleist  and  Hebbel.  A  comparative  study.  The  Novels. 
Dissertation.     Chicago  1904. 

« J.  L.  Tieck.     Schriften,  20  Bde.,  Beriin  182S-40,  XI  (1829),  pp.  Ixxxiv-xc. 
'Cf.  p.  10. 


KARL  GUTZKOW'S  SHORT  STORIES  11 

they  are.  The  second  task  performed  by  the  dialogue  is  that  of  stating 
the  problems  to  be  discussed  and  in  many  instances  conducting  what  is 
virtually  a  debate  upon  such  questions.  At  times  these  discussions  go 
far  afield  and  the  result  is  a  disruption  of  the  form  of  the  novelle.  The 
final  outcome  of  Tieck's  efforts  is  a  deterioration  of  artistic  form. 

The  novelle  of  later  times  shows  the  influence  of  all  the  novellen  writers 
of  the  first  third  of  the  century.  Tieck's  influence  especially  is  to  be 
observed  in  the  works  of  the  "Young  Germans."  When,  however,  the 
novelle  reaches  a  culminating  point  in  its  development,  it  shows  a  close 
relationship  to  the  novelle  of  Kleist.  This  does  not  imply  a  direct  in- 
fluence from  him  but  since  he  is  responsible  for  placing  the  short  story 
in  the  domain  where  it  properly  belongs  involuntarily  and  from  the  laws 
of  inner  necessity  it  must  approach  the  norm  set  by  him.^ 

*  Karl  Ewald,  Die  deutsche  Novelle  im  ersten  Drittel  des  19.  Jahrhunderts.  Diss. 
Rostock.     Gottingen   1907. 

The  view  held  by  Theodor  Storm  concerning  the  novelle  might  well  be  mentioned 
here  for  the  sake  of  comparison.  "The  present  day  novelle,"  he  says,  "is  the  sister 
of  the  drama  and  is  the  most  exacting  form  of  artistic  production.  Like  the  drama 
it  treats  of  the  deepest  problems  of  human  life;  like  it  it  requires  for  its  perfection  a 
central  conflict  around  which  the  whole  is  organized,  and  in  consequence  of  this  the 
most  compact  form  and  the  exclusion  of  all  non-essentials  is  necessary.  It  not  merely 
permits  of  the  greatest  demands  upon  art  but  it  imperatively  calls  for  them." — 
Koster  Albert.  Briefwechsel  zwischen  Th.  Storm  and  G.  Keller.  Anmerkungen  s. 
249-250. 


CHAPTER  II 

The  Young  German  Movement 

The  "Young  German"  movement  as  it  is  known  in  German  literature 
of  the  nineteenth  century  was  at  its  most  intense  phase  during  the  years 
1833  to  1835.  At  this  time  the  writers  who  composed  the  group  were 
more  closely  in  agreement  with  one  another  and  the  ties  which  bound 
them  together — the  union  was  never  a  formal  or  organic  one — were 
more  numerous  and  tightly  woven  than  at  any  later  period. 

The  beginning  of  "Young  Germany,"  the  source  of  its  inspiration, 
is  to  be  found  in  the  French  Revolution  of  1830.  The  triumph  of  liberal 
principles  in  France,  the  resulting  overthrow  of  Charles  X,  and  the 
establishment  of  a  government  which  recognized  the  people  as  the 
source  of  its  authority,  reacted  profoundly  upon  Germany,  and  especially 
upon  the  great  number  of  Uberals  who  had  looked  forward  ardently  to 
the  inauguration  of  the  reforms  which  had  been  promised  to  the  German 
states  by  their  sovereigns  during  the  wars  against  Napoleon.  Though 
these  hopes  had  been  bitterly  disappointed,  they  still  cherished  dreams 
of  greater  democracy  and  even  under  the  regime  of  Metternich  and  the 
Holy  Alliance  dared  to  beheve  that  the  advantages  which  their  western 
neighbor  possessed  might  some  day  come  to  be  theirs. 

This  attitude  toward  France  and  enthusiasm  for  Uberalism  is  ex- 
pressed at  its  best  in  the  domain  of  German  letters  by  Heinrich  Heine 
and  Ludwig  Borne.  Both  of  these  Jewish  writers,  journaUsts  of  note, 
transmitters  of  French  ideas  and  culture,  took  up  their  residence  in 
Paris,  and  from  this  capital  city  sent  back  to  their  countrymen  transcripts 
of  the  Ufe  they  there  found,  colored  by  their  personal  devotion  to  the 
ideals  which  they  beUeved  to  be  incorporated  in  the  French  system  of 
government.  The  influence  exerted  by  these  writers  upon  the  German 
pubhc  and  the  rising  generation  of  authors  in  their  native  land  was 
immense. 

Among  those  who  looked  to  Heine  and  Borne  as  their  models  and 
stood  deeply  in  their  debt  for  many  of  their  ideas  were  Ludolf  Wienbarg, 
Karl  Gutzkow,  Heinrich  Laube,  and  Theodor  Mundt.  These  young 
men  had  been  stirred  to  the  depths  by  the  July  Revolution  and  had 
become  impregnated  with  liberal  doctrines.  They  deplored  the  unfor- 
tunate, depressingly  reactionary  position  assumed  by  Germany  in  mat- 
ters of  politics  and  statecraft,  were  eagerly  alive  to  all  social  and  semi- 
political,  semireligious  movements  which  showed  themselves  at  that 


KARL  GUTZKOW'S  SHORT  STORIES  13 

time,  and  were  especially  prone  to  take  up  with  new  and  revolutionary 
phases  as  these  manifested  themselves  in  literature.  The  severe  censor- 
ship imposed  by  the  German  Diet  and  by  Prussia  was  particularly  irk- 
some to  them  and  more  than  once  did  they  come  into  conflict  with  it. 

Thus  on  the  part  of  Heine  and  Borne  in  Paris  there  was  an  ardent 
enthusiasm  for  France  and  hberahsm,  coupled  with  a  hatred  for  the 
despotism  of  the  countries  of  Germany  that  was  not  unmixed  with 
contempt  for  the  passive  endurance  of  their  countrymen,  and  on  the 
side  of  the  youthful  journahsts  of  the  home  land  there  was  a  strong  leaven 
of  sympathy  for  the  principles  of  democracy  and  freer  government  and  a 
marked  tendency  to  take  up  all  new  appearances  of  the  day,  social, 
aesthetic,  religious,  and  political.  The  former,  secure  in  a  foreign  land, 
were  able  to  express  themselves  without  restraint;  the  latter,  lacking  such 
protection,  felt  all  the  rigor  of  governmental  persecution  and  were  obliged 
to  exercise  a  degree  of  caution  not  required  by,  the  former. 

Out  of  these  common  sympathies  and  strivings  there  developed  a 
more  or  less  conscious  connection  between  these  writers  and  they  came 
to  sustain  a  sort  of  intellectual  relationship  to  one  another  that  might 
have  developed  still  further  but  for  the  decree  of  the  German  Diet  that 
followed  the  publication  of  Gutzkow's  "Wally,"  and  the  bitter  attacks 
of  Wolfgang  Menzel  upon  the  same.  This  brought  the  works  of  Heine, 
Gutzkow,  Wienbarg,  Mundt,  and  Laube  under  the  ban  and  the  decree 
was  applied  not  only  to  all  previously  published  works  but  also  to  any 
which  they  might  write  in  the  future.  "Young  Germany"  was  thus 
suddenly  checked  and  in  later  years  its  various  members  came  to  attack 
one  another  often  with  great  bitterness.  The  name,  however,  has 
remained  and  is  now  recognized  as  a  distinctive  catch  phrase  applying 
to  this  group. 

The  political  significance  of  this  movement  must,  however,  be  neither 
overestimated  nor  misunderstood.  It  was  not  poUtically  revolutionary 
in  nature,  it  did  not  contemplate  the  use  of  force  against  the  govern- 
ment, it  had  no  connection  with  the  "Young  Europe"  organizations  of 
the  times,  but  was  rather  concerned  with  Uterature  and  the  desire  for 
greater  liberty  of  the  press.  It  was  liberal,  frankly  desirous  for  many 
reforms,  but  not  subversive  to  the  existing  regime. 

On  the  social  and  aesthetic  side  the  "Young  Germans"  were  icono- 
clasts who  fought  against  the  traditional  and  the  conventional.  Saint 
Simonism,  emancipation  of  the  senses,  emancipation  of  women,  the 
rights  of  sensual  beauty,  were  topics  exploited  by  them  to  an  extent  that 
their  service  in  other  directions  has  often  been  greatly  ignored.     These 


14  KARL  GUTZKOW'S  SHORT  STORIES 

measures  which  they  thus  advocated  were,  however,  only  a  further 
treatment  of  themes  previously  handled  by  Goethe,  Heinse,  Schlegel, 
Tieck,  and  Schleiermacher,^  but  they  were  ardently  advanced,  strongly 
championed,  and  usually  presented  in  their  baldest,  most  unattractive 
features,  and  hence  appeared  more  dangerous  than  they  really  were. 
For  their  immediate  inspiration  in  these  matters  as  well  as  in  liberal 
ideas  upon  government  the  "Young  Germans"  were  greatly  indebted 
to  Heine.  Indeed  the  latter  was  very  truly  the  father  of  the  whole 
movement  and  is  to  be  considered  as  its  intellectual  sponsor. 

The  church  and  orthodoxy  were  viewed  only  as  a  portion  of  that 
which  had  come  down  from  the  past  and  the  authority  which  reUgion 
claimed  was  felt  to  be  tyrannical  and  antagonistic  to  the  liberty  of  the 
individual,  a  form  of  slavery  whose  shackles  must  be  broken.  Accord- 
ingly the  church  became  an  object  of  attack,  and  skepticism,  ever  a 
distinguishing  trait  of  this  group  of  writers,  came  to  a  place  of  prom- 
inence. D.  F.  Strauss's  "Leben  Jesu"  was  a  powerful  illustration  of 
this  tendency  of  the  time  and  influenced  the  "Young  Germans"  strongly. 
Saint  Simonism,  which  as  has  been  previously  mentioned  was  a  part  of 
the  propaganda,  also  possessed  elements  of  opposition  to  the  existing 
theology. 

Moreover  the  "Young  Germans"  stood  in  clear  alignment  against 
Romanticism  and  Classicism.  They  indicted  the  latter  with  having 
led  Germany  astray  from  the  present  and  reality  in  a  one-sided  struggle 
for  beauty  and  an  effort  to  revive  the  spirit  of  the  ancient  Greeks.  It 
is  scarcely  necessary  to  point  out  their  error  in  this  accusation  and  to 
show  that  Goethe  and  Schiller  had,  in  truth,  presented  universal  human 
ideals  in  their  works,  that  they  had  given  them  an  ideal  content  that 
must  be  recognized  as  valid  for  all  time,  and  that  the  form  in  which  they 
clothed  this  ideal  life  content  is  such  that  each  age  must  believe  in  its 
reaUty.^ 

The  strongest  opposition  of  the  "Young  Germans"  directed  itself, 
however,  against  Romanticism.  The  only  real  vocation  of  the  poet, 
according  to  the  belief  of  these  would-be  reformers,  was  to  submerge 
himself  in  the  poUtical  and  social  problems  of  his  time  and  bend  all  his 
efforts  toward  their  solution.  Literature  must  put  itself  into  the  service 
of  public  life  and  politics.  The  Romanticists  had  done  the  extreme  oppo- 
site of  this.     They  had  fled  from  the  world  of  reality  and  had  taken  refuge 

1  Goethe's  "Wahlverwandschaften,"  Heinse's  "  Ardinghello, "  Friedrich  Schlegel's 
"Lucinde."  etc.  all  handle  essentially  the  same  problems  as  those  dealt  with  by  the 
"Young  Germans." 

-Biese,  A.,  Literaturgcschichte.     (Jung  Deutschland) 


KARL  GUTZKOW'S  SHORT  STORIES  15 

in  a  world  set  up  in  its  place  by  the  imagination,  a  world  that  was  not 
illumined  by  the  bright  light  of  day  but  by  the  twilight  of  the  moon, 
a  wonderland  of  fairy  tale  and  saga  that  extended  even  into  a  "third 
world"  of  premonitions  and  dreams,  spirits,  ghosts,  spooks,  kobolds, 
elves  and  water  sprites,  and  that  was  not  a  part  of  their  own  times  but 
was  located  in  the  dark  and  distant  Middle  Ages.  The  present  had 
seemed  too  narrow  for  them  and  the  realm  of  fantasy  had  become  their 
retreat.  The  later  Romanticists  in  particular  had  become  separated 
from  the  age  in  which  they  lived,  they  had  reached  an  artificial,  un- 
natural, unhealthy  condition,  which  possessed  an  oversatiation  of  fantasy 
that  produced  a  feeling  of  nausea  and  disgust.  Although  the  period  of 
Romanticism  had  been  national  in  tone,  nevertheless  a  deep  rift  had 
developed  between  literature  and  Hfe.  It  was  to  protest  against  this 
Romantic  world  conception  (Weltanschauung)  and  to  bridge  this  gap 
that  the  "  Young  Germans  "  took  up  arms  actively  against  the  philosophy 
and  literature  that  had  held  undisputed  sway  during  the  first  quarter 
of  the  century. 

In  this  revolt  against  the  prevailing  system  "Young  Germany" 
bore  a  decided  resemblance  to  the  earlier  "Storm  and  Stress"  period. 
Both  were  uprisings  of  young  spirits  against  the  intellectual  tyranny  of 
a  preceding  generation  of  writers.  Both  were  stormy  transition  periods, 
both  were  eras  of  bitter  negation  of  former  Uterary  values.  The  roots 
of  the  first  "Storm  and  Stress"  period  lay  in  part  also  in  the  existing 
pohtical  and  social  conditions,  in  the  deep  contradiction  between  the 
"enlightenment"  and  the  ideals  of  the  ancients  as  spread  by  Winckel- 
mann  on  the  one  side,  and  the  distressing,  narrow  conditions  of  life  for 
the  individual  upon  the  other.  It  consisted  to  a  large  degree  of  an  up- 
rising against  the  hmitations  of  the  civilization  (Kultur)  then  in  vogue 
and  of  convention.  Its  catchwords  were  expressions  such  as  "nature," 
"originality,"  and  "genius."^ 

The  case  was  somewhat  different  with  the  "Young  Germans." 
Their  slogans  varied  from  those  of  the  preceding  revolutionists  owing  to 
changed  political  and  social  conditions.  Genius  and  individuaUty 
were  not  so  strongly  emphasized.  They  were,  in  fact,  often  contested. 
The  effort  was  made  to  co-operate  rather  than  to  achieve  alone.  "  Liber- 
alism," "freedom,"  and  "realism"  became  the  watchwords.  This 
was  the  first  side  of  the  democratic  element  in  the  "Young  German" 
literature.     The  second  was  the  thoroughgoing  attempt  to  work  upon 

'  Schweizer,  Viktor,  Ludolf  Wienbarg,  p.  29. 


16  KARL  GUTZKOW'S  SHORT  STORIES 

the  masses.  Out  of  this  developed  modern  journahsm  with  its  immense 
power,  a  force  which  was  influenced  in  its  progress  and  aims  to  a  con- 
siderable degree  by  the  lines  followed  by  French  and  EngHsh  journalism. 

The  positive  contribution  which  the  "Young  Germans"  set  up  in 
place  of  the  Romantic  conception  that  they  desired  to  destroy  was  the 
modern  view  of  the  world  and  of  life.  As  expressed  by  Richard  Haym  it 
is  as  follows:  "Not  to  live  in  cloudhke  illusions,  in  arbitrary  and  strange 
modes  of  thought,  in  wishes  pointing  backwards  to  the  past;  not  that, 
but  rather  to  recognize  with  sober  understanding  and  manly  resolution 
the  might  and  the  needs  of  reality,  to  progress  with  thoughtful  and  pa- 
tient mind,  this  constitutes  correctly  for  us  moderns  the  imperative 
demand  of  the  time  in  whose  service  we  are  placed.  "^ 

That  the  "Young  Germans"  did  not  succeed  in  attaining  to  the 
goals  which  they  had  set  up  lay  in  the  Umitations  always  present  in  a 
transition  period.  They  were  obliged  to  combat  within  themselves  the 
varying  Romantic  elements  which  they  desired  to  destroy.  The  influence 
of  the  Romanticism  under  which  they  had  grown  up  was  too  strong  to  be 
broken  at  once. 

In  this  modern  world  view,  this  union  of  art  and  life,  they  set  forth 
the  goal  of  all  their  efforts.  Laube  expressed  this  when  he  said:  "Truth, 
the  whole  truth,  only  refined  and  unified  in  the  sunshine  of  (good)  taste, 
in  the  workshop  of  the  beautiful,  is  the  one  and  all,  that  we  desire,  and 
whoever  loves,  desires,  and  furthers  that,  is  one  with  us.  "^ 

Thus  the  realistic  tendency  is  the  modern  element  of  the  "Young 
German"  movement,  a  tendency,  which  though  it  often  went  astray 
was  nevertheless  ever  desirous  of  bringing  life  and  art  into  more  intimate 
contact. 

A  second  characteristic  of  "Young  Germany"  was  the  aim  which 
its  members  possessed  of  reforming  life  by  means  of  art.  They  desired 
that  the  conception  of  Hfe  and  the  world  should  be  an  artistic  one. 
Wienbarg  is  especially  the  representative  of  this  idea,  which  is  in  itself 
nothing  new  but  rather  an  inheritance  from  the  classical  writers  and 
from  the  Romanticists.  The  latter,  it  is  true,  had  gone  far  afield  in 
their  practice  from  this  idea,  but  it  is  the  artistic  practice  of  the  youthful 
Goethe  and  the  theory  taught  by  Goethe  in  his  later  years  which  fur- 
nished the  basis  upon  which  the  "Young  German"  set  out  to  build 
further.^ 

*  Haym,  Richard,  Die  Romantische  Schule,  p.  4. 
'Laube,  Heinrich,  ]\Iodern^  Charakteristiken,  11,  239. 
•Wienbarg,  Ludolf,  Aesthetische  Feldzuge,  XXI-XXII. 


KARL  GUTZKOW'S  SHORT  STORIES  17 

The  rift  between  the  Romantic  practice  and  actual  life  has  now  been 
sufficiently  indicated.  The  "Young  Germans"  were  not  the  only  ones 
who  recognized  this  unfortunate  situation  and  deplored  it.  Two  others, 
who  were  prominent  and  produced  works  the  importance  and  influence 
of  which  can  scarcely  be  rated  too  high,  were  also  keenly  alive  to  the 
low  state  into  which  Uterature  had  fallen  in  Germany.  Paul  Pfizer's 
" Briefwechsel  zweier  Deutcshen"  and  Wolfgang  Menzel's  "Deutsche 
Literatur"  clearly  demonstrate  this. 

The  former  with  reference  to  the  then  obtaining  conditions  said: 
"A  similar  state  is  present  in  German  Uterature  as  well.  There  is  lacking 
here,  as  is  true  of  the  German  people,  a  genuine  center  of  Hfe.  It  is 
a  periphery  without  a  center.  .  .  .  The  German  poetic  Uterature  con- 
sists of  nothing  but  arabesques  and  ornamentations,  and  real  poetry 
is  more  and  more  becoming  silent,  since  it  lacks  in  Ufe  any  object  for 
observation  of  an  inspiring  and  perfected  nature  by  which  it  can  uphold 
itself.  The  purely  spiritual  (innerUch)  materials  and  motives  are  ex- 
hausted, everything  dissolves,  blows  away  like  dust,  disappears,  and  often 
leaves  a  nauseating  sediment  behind.  Instead  of  a  proper  mixture  of 
elements,  instead  of  a  permeation  of  real  and  ideal  elements,  there  is 
here  a  cloudy  vapor  in  which  one  can  no  longer  distinguish  the  hazy 
figures,  there,  on  the  contrary,  nude  insipidity  and  vulgarity  proudly 
glorying  in  its  nudity,  because  we  have  lost  genuine  reaUty,  the  real 
center  of  Ufe."^ 

Another  quotation  supplements  this  picture:  "The  German  is  a 
stranger  in  his  own  country.  He  Uves,  the  better  (German)  at  least, 
no  longer  in  life  but  outside  of  Ufe.  He  has  nothing  but  his  inner  world. 
His  existence  has  become  a  thoroughly  artificial  one.  .  .  .  The  chasm 
between  him  and  reaUty  increases."* 

A  third  quotation  demands  a  decided  break  with  Romanticism  and 
states  Pfizer's  ideal  of  the  writer:  "A  genuine  poet  cannot  join  himself 
too  closely  to  life,  and  his  work  will  be  so  much  the  more  poetical  and 
deep  in  accordance  as  it  possesses  more  of  this  basis  and  exhibits  Ufe  in 
its  relation  to  the  world,  for  Ufe  and  poetry  are  of  one  sort,  and  the 
latter  is  only  one  expression  of  the  former.  Nothing  that  is  separated 
from  the  former  and  is  but  a  mirror  of  fancy  can  be  independently 
portrayed."^ 

'  Pfizer,  Paul,  Briefwechsel  zweier  Deutschen,  pp.  115-116. 

*  Pfizer,  Paul,  loc.  cit. 

'  Pfizer,  Paul,  loc.  cit.,  p.  117. 


18  KARL  GUTZKOW'S  SHORT  STORIES 

Some  citations  from  Menzel  serve  to  show  that  he,  too,  felt  com- 
pelled to  take  a  similar  attitude  toward  the  Uterature  of  the  time.  Thus 
he  makes  the  following  charges.  "Poetry  is  no  longer  linked  to  life, 
the  most  perfect  blossom  of  the  same,  but  is  rather  opposed  to  it,  as  the 
dream  is  to  the  awakening.  "^° 

And  again:  "Even  up  to  the  present  most  scholars  Uve  in  their 
grottoes  of  books,  and  simultaneously  lose  with  the  sight  of  nature  the 
sense  for  the  same  and  the  power  to  enjoy  it.  Life  becomes  a  dream  to 
them,  and  the  dream  becomes  their  life.  .  .  .  Far  from  reaUty,  far 
from  nature  and  life,  these  poets  study  everything  only  from  books, 
draw  all  their  ideas  and  images  from  paper  only  in  order  to  again  put 
them  into  a  cofl&n  of  paper.  They  pursue  the  shadow  eagerly  in  order 
to  again  outline  it."^^ 

Thus  it  is  apparent  that  the  serious  discrepancy  between  Uterature 
and  life  was  widely  felt,  and  when  Wienbarg,  the  aestheticist  of  this 
school  issued  his  "  Aesthetische  Feldzuge"  (1834)  with  its  clarion  call 
for  a  return  of  the  younger  minds  in  Germany  to  the  principle  of  a  closer 
union  of  life  and  literature,  and  demanded  a  new  aesthetics  that  should 
restore  the  severed  connection,  he  was  not  entirely  unique  but  was  acting 
in  the  capacity  of  spokesman  for  a  numerous  constituency,  which  in- 
cluded not  only  "Young  Germany"  but  even  those  who  like  Menzel 
later  became  its  bitter  enemies. 

"  Menzel,  W.,  Deutsche  Literatur,  Bd.  II,  p.  61. 
"Menzel,  W.,  loc.  cit. 


CHAPTER  III 

GuTZKow's  Position  in  Literature 

If,  as  is  commonly  asserted,  Borne  was  the  inspiration  along  political 
lines  for  the  "Young  Germans,"  Heine  the  source  of  their  ethical-aesthe- 
tic-social views,  and  Wienbarg  the  promulgator  of  their  aesthetic  pro- 
gram, Gutzkow  was  the  foremost  practician  of  the  members  of  the  group 
who  remained  in  Germany.  He  was  possessed  of  greater  talent,  more 
ambition,  and  less  timidity  than  the  others  who  figured  in  this  reform 
movement,  and  he  incorporated  the  principles  of  the  new  literature  into 
his  works  in  greater  degree  and  with  more  striking  success  than  did  any 
of  the  others.     A  brief  summary  of  his  life  and  activities  is  here  given. 

He  was  born  in  Berlin,  March  17,  1811.  In  1829  he  entered  the 
University  of  Berlin,  enrolling  first  in  the  philosophical  faculty,  later 
transferring  to  the  theological  faculty,  and  thence  returning  to  the 
philosophical.  The  winning  of  a  scientific  prize  from  the  University  in 
1830  interested  him  less  than  the  news  of  the  outbreak  of  the  revolution 
in  Paris,  which  he  heard  at  the  same  time.  His  words  uttered  then  are 
significant  of  his  career  throughout  life.  "  From  this  day  on  science  lay 
behind  me,  history  before  me,"  he  said,  speaking  of  this  event. 

His  first  attempts  in  journalism  took  place  during  his  university 
days.  "Das  Forum  der  Journalisten"  (1831)  clearly  indicated  his 
critical  bent.  Wolfgang  Menzel,  the  author  of  the  widely  read  "Deut- 
sche Literatur"  and  editor  of  the  "  Literaturblatt "  in  Strassburg,  exerted 
a  strong  influence  upon  him  and  invited  the  youthful  author  to  assist 
him  upon  this  publication.  Gutzkow  accepted,  and  went  to  Strassburg 
where  the  two  worked  together  harmoniously  for  some  time.  During 
this  period  Gutzkow  published  his  first  volume  of  short  stories,  the 
political  satire  "Briefe  eines  Narren  an  eine  Narrin,"  and  the  "pur- 
pose" novel  "Maha  Guru."  Gradually  the  relationship  with  Menzel 
grew  less  intimate,  and  a  new  one  with  Heinrich  Laube  sprang  up. 
After  a  trip  with  the  latter  through  upper  Italy,  Gutzkow  settled  down 
at  Frankfurt,  where  he  started  a  new  pubUcation,  the  "  Phonix, "  in  which 
he  gave  ample  expression  to  the  leading  ideas  of  the  new  literature. 

The  appearance  of  his  novel  "Wally,  die  Zweiflerin"  (1835)  created 
a  veritable  storm  of  criticism  and  resulted  in  placing  not  only  Gutzkow's 
ov/n  works,  those  already  written  and  any  future  productions,  under 
the  ban,  but  also  those  of  Heine,  Laube,  Wienbarg,  and  Mundt.  In 
addition  Gutzkow  received  a  month's  imprisonment.     His  plans  for  an 


20  KARL  GUTZKOW'S  SHORT  STORIES 

imposing  literary  magazine,  "Die  Deutsche  Revue,"  were  also  com- 
pletely shattered  by  this  event.  Two  works,  "Zur  Geschichte  der 
Philosophic"  and  "Ueber  Goethe  im  Wendepunkte  zweier  Jahrhun- 
derte,"  he  very  nearly  completed  while  imprisoned.  After  his  release, 
for  a  time  in  Frankfurt  and  later  from  Hamburg,  he  was  the  guiding 
spirit  in  the  editing  of  the  "Frankfurter  Telegraph,"  and  in  this  he  was 
associated  with  Dingelstedt,  Goedeke,  Levin  Schiicking,  Geibel,  Eichen- 
dorff,  Hebbel,  and  others. 

The  period  spent  in  Hamburg  was  of  the  greatest  importance  for 
Gutzkow's  development.  He  rapidly  gained  in  literary  strength  and  at 
this  time  he  completed  the  significant  development  from  short  story 
writer  and  journalist  to  dramatist,,  and  acquired  so  thorough  a  knowl- 
edge of  Germany  and  so  deep  an  appreciation  for  that  country's  intel- 
lectual growth  that  his  later  panoramic  novels  are  historically  accurate 
and  valuable. 

In  1839  he  made  the  leap  to  the  drama  and  the  next  fifteen  years 
witnessed  a  long  succession  of  plays,  many  of  which  proved  popular. 
The  most  important  were  the  three  comedies:  "Zopf  und  Schwert" 
(1843),  "Das  Urbild  des  Tartufife"  (1847),  "Der  Konigsleutnant" 
(1849),  and  the  tragedy,  "Uriel  Acosta"  (1849).  The  last  is  the  most 
poetical  of  Gutzkow's  dramas.  Unlike  the  greatest  part  of  Gutzkow's 
works,  which  are  marred  by  didacticism  and  treat  problems  of  only 
temporary  interest,  this  deals  with  a  conflict  that  is  eternal  and  hence 
has  aged  much  less  than  the  rest  of  his  productions. 

In  1846  Gutzkow  became  theatrical  critic  at  the  court  theater  at 
Dresden,  which  position  he  held  until  1848,  when  in  consequence  of  his 
(temperate)  participation  in  the  revolution  of  that  year  he  gave  it  up. 
His  period  of  residence  in  Dresden  extended,  however,  until  1861  and 
according  to  H.  H.  Houben  Gutzkow  at  this  time  reached  the  zenith 
of  his  influence.  In  1849  and  1850  he  wrote  his  first  great  novel,  "Die 
Ritter  vom  Geiste,"  from  1852  until  1861  he  published  the  periodical, 
" Unterhaltungen  am  hauslichen 'Herd,"  in  1857  he  began  the  great 
counterpart  to  his  first  long  novel,  "Der  Zauberer  von  Rom."  The 
severe  criticism  of  Julian  Schmidt  and  Gustav  Freytag,  the  editors  of 
the  "Grenzboten,"  did  much  to  embitter  the  later  years  of  Gutzkow's 
stay  in  Dresden. 

For  a  short  time  he  was  the  general  secretary  of  the  Schiller  Founda- 
tion in  Weimar.  At  this  time  he  became  mentally  overwrought  and 
possessed  by  the  delusion  that  he  was  being  constantly  persecuted  by 
his  enemies  and  attempted  suicide.     He  was  placed  in  an  institution  for 


KARL  GUTZKOW'S  SHORT  STORIES  21 

the  curing  of  nervous  diseases  and  fortunately  restored  to  health.  Soon 
after  he  was  given  a  sum  of  money  as  a  gift  by  a  grateful  public  which 
had  at  length  come  to  recognize  the  services  which  he  had  rendered  as 
a  writer.  Again  he  set  diligently  to  work  but  the  former  strength  was 
now  greatly  weakened.  Among  the  productions  of  this  period  were  the 
novel,  "Hohenschwangau"  and  the  autobiographical  "Riickblicke  auf 
mein  Leben."  He  died  December  16,  1878  in  Sachsenhausen,  being 
suffocated  by  a  fiire  which  had  broken  out  in  his  room. 

His  life  was  thus  one  of  utmost  activity.  In  the  words  of  his  bio- 
grapher and  most  thorough  student  and  critic:  "Whoever  possesses  a 
view  of  his  activity  cannot  picture  him  otherwise  than  as  standing  at 
his  desk  and  with  rapid  hand  guiding  his  pen.  In  a  life  of  sixty-seven 
years  he  wrote  more  than  Goethe.  That,  in  itself,  is  appalling.  .  .  . 
Gutzkow's  works  are  a  diary  of  the  history  of  his  time.  There  is  scarcely 
a  question  which  he  has  not  approached,  scarcely  a  literary  personality 
of  any  significance  with  whom  he  has  not  had  relationships,  either 
personal,  literary,  or  critical.  Gutzkow's  biography  will  not  permit  of 
being  written  without  a  thorough  knowledge  of  all  the  intellectual  cur- 
rents of  the  century.  It  represents  a  history  of  the  years  from  1830  to 
1880.  .  .  .  The  entire  life  of  Gutzkow  is  a  confusion  of  strife  and 
polemic."^ 

'  Houben,  H.  H.,  Gutzkow  Funde,  VII. 


CHAPTER  IV 

Purpose  of  the  Dissertation 

Having  thus  sketched  the  outUnes  of  the  "Young  German"  move- 
ment, and  indicated  sUghtly  the  vast  range  of  the  field  of  literature  in 
which  Gutzkow  was  a  striking  figure,  we  take  up  for  specific  investiga- 
tion the  domain  of  the  short  story  in  which  Gutzkow  was  thoroughly  at 
home  and  to  which  genre  he  contributed  freely  throughout  the  whole 
of  his  career.  This  is  a  subdivision  that  has  been  very  sparingly  studied 
and  is  comparatively  unknown.  The  revival  of  interest  in  the  "Young 
German"  school  which  has  been  in  progress  for  several  years  has  thus 
far  failed  to  throw  much  light  upon  this  side  of  Gutzkow's  activities. 
Research  has,  indeed,  been  carried  on  further  in  the  case  of  some  of 
Gutzkow's  compatriots  than  it  has  vnth  regard  to  the  leader  himself. 
The  extent  and  the  diversity  of  his  labors  have  thus  far  prevented  a 
successful  survey  of  his  works  in  detail.  Thus  it  happens  that  amid  the 
efforts  that  scholars  such  as  Brandes,  Dresch,  Proelss,  and  Houben,  have 
put  forth  in  the  effort  to  restore  the  writers  of  "Young  Germany"  to 
their  proper  place  of  merited  recognition,  Gutzkow's  short  stories  have 
been  neglected,  and  his  name  brings  to  but  few  minds  any  memories 
beyond  those  of  "Wally,"  "Die  Ritter  vom  Geiste, "  "Der  Zauberer 
von  Rom,"  "Uriel  Acosta,"  and  "Zopf  und  Schwert." 

Hence  it  has  been  with  the  aim  of  discovering  Gutzkow's  character- 
istics as  a  writer  of  the  novelle  that  the  present  study  has  been  prosecuted. 
It  divides  naturally  into  two  parts:  first,  an  attempt  to  ascertain  the 
author's  theoretical  views  upon  literature,  i.  e.,  his  conception  of  the 
nature  of  the  poetic  art;  and  second,  an  endeavor  by  means  of  a  detailed 
analysis  of  a  number  of  his  short  stories  to  observe  how  these  theories 
work  out  in  a  practical  application. 

For  the  first  of  these  objects  no  large  amount  of  material  was  avail- 
able and  the  sources  which  have  been  used  consist  of  an  article  in  "Die 
Deutsche  Revue"  entitled  "Literature, "^  an  extract  "Wahrheit  und 
Wirklichkeit "2  published   in   connection   with    "Wally,"    the   chapter 

'  Deutsche  Literaturdenkmale  des  18.  iind  19.  Jahrhunderts,  No.  132.  Die 
Deutsche  Revue  von  Karl  Gutzkow  und  Ludolf  Wienbart  1835.  Herausgegeben  von 
J.  Dresch,  pp.  22-39. 

-First  published  in  the  Phoenix,"  July  25,  1P35.  Republished  in  connection 
with  "Wally,"  August  12,  1835. 


KARL  GUTZKOW'S  SHORT  STORIES  23 

"Kunst  und  Literature"  in  "Die  Siikularbilder, "*  the  various  prefaces 
to  the  "Ritter  vom  Geiste, "  and  a  discussion  by  Gutzkow  of  the  nature 
of  the  roman,  the  novelle,  and  the  erzdhlung  in  "Vom  Baum  der  Erkennt- 
nis."4 

Nor  were  all  of  the  author's  short  stories  available  for  this  analysis. 
Those  which  have  been  considered  are  to  be  found  in  volumes  two,  three, 
and  four  of  the  Costenoble  edition  of  Gutzkow's  "  Gesammelte  Werke  " 
and  in  the  volume  of  H.  H.  Houben's  edition  of  Gutzkow's  works  en- 
titled "Kleine  Romane  und  Erzahlungen. "  The  longer  novels  of  Gutz- 
kow, including  "  Wally,"  which  has  been  well  analyzed  by  Eugen  Wolff, 
have  been  excluded  from  the  present  study. 

^  Gutzkow's  Gesammelte  Werke,  Vol.  VIII,  Chap.  X.  The  Sakularbilder  ap- 
peared in  1837  under  the  title  "Bulwers  Zeitgenossen,"  later  republished  as  the  "Saku- 
larbilder" in  1846. 

^  Karl  Gutzkow,  Vom  Baume  der  Erkenntnis.  Denkspriiche,  2,  Aufl.  Stuttgart 
1869,  209  ff.  (1.  Aufl.  1868). 


CHAPTER  V 

GuT7Kow's  Literary  Theory 

It  has  been  seen  that  the  lack  of  a  vital  connection  between  life  and 
literature  which  existed  during  the  first  third  of  the  nineteenth  century 
was  felt  by  many  of  the  keenest  minds  in  Germany  to  be  most  deplorable. 
A  return  to  a  more  reaUstic  literature  was  widely  desired  as  a  remedy 
for  this  condition,  and  from  this  period  date  the  beginnings  of  the  later 
realism  which  spread  so  widely  and  passed  through  many  phases  until 
it  culminated  finally  in  the  excesses  of  Naturalism  during  the  decades 
of  the  80's  and  the  90's. 

The  attitude  of  Wienbarg,  Menzel,  and  Pfizer  toward  this  revolt 
against  literary  tradition  and  convention  has  been  clearly  indicated, 
and  it  may  be  added  that  among  those  who  championed  the  new  doctrines 
there  were  none  more  throughgoing  than  the  author  whose  literary 
theory  is  now  to  be  discussed.  Thus  in  "Die  Deutsche  Revue, "^  a 
magazine  which  was  founded  by  Gutzkow  and  Wienbarg  in  1835,  but 
which  was  suppressed  before  the  first  edition  was  published,  the  former 
expresses  views  upon  contemporary  literature  and  upon  the  mission  of 
literature  that  are  in  strict  accord  with  those  of  the  above  mentioned 
critics.  Literature  must,  he  says,  mirror  the  nation's  life  and  it  must  in 
addition  to  this  stand  in  the  service  of  ideas.  It  is  not  sufficient  that 
existing  conditions  be  depicted,  that  happiness  or  unhappiness  be  des- 
cribed. The  time  for  this  has  gone  by.  Literature  must  do  more  than 
instruct  the  shoemaker  how  to  reckon  his  accounts  or  the  citizen  to  elect 
his  representatives.  The  genius  has  two  goals  toward  which  he  works: 
the  deed  and  the  idea.  Existing  conditions  render  the  attainment  of  the 
former  impossible.  The  latter  remains  open.  Hence  he  must  work 
for  that.  In  other  words,  literature  becomes  purposeful  and  thus  a 
connection  with  Hfe  is  established.  Poetry  is  to  be  used  for  the  advance- 
ment of  a  definite  program. 

That  Hterature  be  popular,  however,  is  not  demanded  by  Gutzkow. 
He  fears  a  hterature  which  flatters  the  masses  more  than  one  which  is 
aristocratic.  Both  hterature  and  criticism  of  a  high  order  can  neces- 
sarily have  but  a  hmited  circle  of  intelligent  readers.  When  the  at- 
tempt is  made  to  expand  this  circle  greatly,  the  quality  must  unavoidably 
suffer. 

'  Deutsche  Literaturdenkmale  des  18.  u.  19.  Jahrh.  No  132.  1,  32-5. 


KARL  GUTZKOW'S  SHORT  STORIES  25 

He  recognizes  that  the  poet  must  pass  through  a  process  of  develop- 
ment in  attaining  his  ideal.  Goethe  and  Schiller  reached  the  truth 
toward  which  they  strove  only  after  repeated  trials.  So  in  the  French 
literature  of  his  own  day  did  Balzac  and  George  Sand.  Their  later 
works  were  vastly  better  productions  of  art  than  their  earlier  ones. 

In  "Wahrheit  und  Wirklichkeit "  (1835),  Gutzkow  divides  the  world 
of  authors  and  the  world  of  readers  into  three  domains.  The  scale  is 
an  ascending  one ;  actuality  (Wirklichkeit),  probability  (Wahrscheinlich- 
keit),  and  truth  (Wahrheit).  The  first  division  includes  the  productions 
of  that  group  of  writers  who  attempt  to  reproduce  what  goes  on  in  the 
world  about  them  without  adding  or  detracting  in  any  way,  a  process 
of  imitation  only.  Here,  as  in  "Die  Deutsche  Revue,"  this  is  bitterly 
condemned.  The  second  class  is  composed  of  productions  which  may 
or  may  not  be  based  upon  actual  happenings,  but  which  are  not  unnatural, 
and  fall  within  the  range  of  probability.  This  is  a  second  step,  but  still 
a  low  one.  Finally  the  realm  of  truth  is  made  up  of  those  writings  which 
it  matters  not  whether  they  be  true  or  not,  whether  they  could  possibly 
be  true  or  not,  they  possess  an  inner  truth  which  is  invisible  and  Vv^hich 
places  them  above  and  beyond  all  contradiction.  Readers  corresponding 
to  these  three  classes  are  respectively  designated  as  shallow  minds,  gifted 
minds,  and  free  minds. 

This  threefold  division  is  not  unlike  the  classification  employed  by 
Goethe  which  he  designates  as  simple  imitation  of  nature  (Einfache 
Nachahmung  der  Natur),  manner  (Manier),  and  style  (Stil).^  Goethe, 
however,  while  representing  these  as  three  ascending  stages  of  art,  sees 
in  each  a  perfection  of  its  own.  Gutzkow  does  not.  The  classification 
employed  by  Otto  Ludwig  is  also  threefold:  naturalism,  ideaUsm,  and 
poetic  realism.^  The  first  is  based  upon  historical  evidence,  the  second 
is  ideal  only,  the  last  possesses  all  the  elements  of  possibility  but  lacks 
authenticity,  thus  being  a  form  compounded  of  the  former  tv/o  with  the 
loss  of  certain  qualities  of  each.  It  represents  the  highest  type  of  art 
to  Ludwig,  and  is  the  only  type  to  secure  his  endorsement. 

The  position  and  nature  of  the  m.odern  novel  is  discussed  in  the 
"  Sakularbilder.  "'*  The  novel,  Gutzkow  says,  stands  in  the  forefront 
of  present  day  literature.     It  combines  the  epic,  the  drama,  and  the 

-'Goethes  Werke.  Weimar  Edition,  Vol.  47.  Schriften  zur  Kunst.  Einfache 
Nachahmung  der  Natur,  Manier,  Stil,  pp.  77-83. 

^Otto  Ludwig's  Gesammelte  Werke.  Herausgegeben  von  Adolf  Stern.  Vol' 
V,  458-462. 

*  Gutzkow's  Gesammelte  Werke.     Vol.  VIII,  p.  436. 


26  KARL  GUTZKOW'S  SHORT  STORIES 

lyric.  An  actual  occurrence  or  at  least  something  probable  must  lie  at 
the  basis.  This  must  not  be  so  common  as  to  be  daily  or  matter-of-fact, 
but  must  rather  be  suggestive  in  its  appeal.  Love  must  form  the  lyrical 
element,  ambition,  fate,  or  some  powerful  passion  must  contribute  the 
dramatic  note,  and  all  must  be  enclosed  in  a  fitting  setting.  This  is  the 
traditional  conception  of  the  novel.^ 

It  is  in  the  prefaces  to  his  "Ritter  vom  Geiste, "  however,  that  Gutz- 
kow's  theories  reach  their  culmination.  In  these  he  announces  a  new 
phase  of  the  novel  and  sets  forth  his  doctrine  of  the  "  Nebeneinander " 
which  he  contrasts  with  the  ''Nacheinander."^  The  older  novel,  or 
form  of  novel,  Gutzkow  claim  ,  in  these  prefaces,  is  false,  it  fails  to 
reflect  life,  it  is  arbitrary,  and  it  lacks  the  proper  perspective.  The 
new  novel  must  take  account  of  all  phases  of  society,  of  all  forces  which 
are  operative  at  any  time,  it  must  be  comprehensive  and  not  arbitrary, 
and  it  must  mirror  reality  more  truly.  It  must  present  a  cross-section 
of  life  in  all  its  interrelations  at  a  given  time  rather  than  by  selecting  a 
limited  circle  of  characters  and  following  a  chronological  order  neglect 
forces  that  are  of  equal  or  even  greater  importance  than  those  chosen 
and  thus  distort  the  picture  which  is  given.  It  is  a  bird's-eye  \-iew  which 
the  modern  novel  must  place  before  the  reader,  a  complexity,  however, 
in  which  the  author  must  not  permit  himself  to  become  lost,  but  above 
which  he  must  be  able  to  raise  himself  so  that  he  can  overlook  the  whole 
and  inject  into  it  unity. 

The  influence  of  the  French  writers,  particularly  of  Eugene  Sue,  is 
apparent  here.  Gutzkow,  ]\Iielke  tells  us,  abstracted  his  concept  of  the 
"Nebeneinander"  from  Sue's  sensational  novels,  "Die  Geheimnisse 
von  Paris,"  and  "Der  Ewige  Jude."^  Balzac  also  influenced  Gutzkow 
in  his  views  on  the  novel.  Gutzkow  approved  of  the  novels  of  Sue  and 
Balzac  and  also  of  those  of  George  Sand.* 

The  theory  of  the  novel  which  Gutzkow  thus  stated  finds  in  the  works 
of  Karl  Postl  perhaps  its  best  exposition.  This  writer,  in  the  words 
of  S.  Lublinski,  "comprehended  in  the  mirror  of  his  novel  writing  entire 
peoples,  and  in  his  presentation^he  exhausted  all  the  political,  social, 

'  See  J.  Dresch,  Le  Roman  social  en;Allemagne?(1850-1900)  p.  19  for  discussion 
of  Gutzkow's  definition  of  the  novel. 

« Preface  to  the  first  edition  of  "Die  Ritter  vom  Geiste." 

'Hellmuth  Mielke,  Der  Deutsche  Roman,  p.  174. 

*  J.  Dresch,  (Gutzkow  et  la  jeime  /Vllemagne,  p.  174;^Le  Roman  social  en  Alle- 
magne,  p.  277. 


KARL  GUTZKOW'S  SHORT  STORIES  27 

historical,  and  climatic  conditions,  the  entire  and  infinite  atmosphere 
in  which  these  peoples  Hved.  '"•* 

According  to  Rudolf  Fiirst  Postl  "  may  lay  claim  to  the  merit  of  being 
first  to  regard  his  time  with  the  gaze  of  a  sociologist."^"  And  again, 
still  speaking  of  Postl  as  a  pioneer  in  this  line,  he  says:  "These  novels 
(Postl's)  with  their  many  changing  scenes  demanded  a  new  technique. 
.  .  .  The  new  novel  of  the  "  Nebeneinander, "  which  made  it  possible 
to  lead  the  reader  now  here,  now  there,  now  into  the  hut  and  now  into 
the  palace,  was  created  to  assist  so  that  in  addition  to  discussing  questions 
purely  of  art,  it  could  serve  political  and  social  aims,  and  in  the  hands 
of  "Young  Germany"  it  became  one  of  their  trusty  weapons."" 

Just  how  far  Gutzkow  succeeded  in  carrying  his  theories  into  success- 
ful practice  in  his  long  novels  will  not  be  discussed  here  at  length.^^ 
Quoting  once  more  from  Fiirst,  this  critic  makes  the  following  assertions: 
"  'Young  Germany'  produced  works  which  come  close  enough  to  the 
conception  which  we  today  call  modern.  In  Gutzkow's  'Ritter  vom 
Geiste,'  for  example,  this  newly  acquired  technique  appears  surprising. 
The  enormous  changes  of  scenes  and  persons  required  has  been  smoothly 
mastered,  and  although  one  meets  the  Romantic  frumpery  and  the  sen- 
sational element  of  French,  especially  of  Eugene  Sue's,  origin,  and 
although  the  enmity  expressed  against  all  who  wear  better  coats  is  rather 
inartistic,  yet  the  consideration  of  the  classes  of  society  may  be  looked 
upon  as  a  significant  step.  . .  .  Gutzkow  is  also  the  first  writer  to  make 
the  now  famous  'Hinterhaus'  susceptible  of  literary  treatment.  "^'^ 

Further  than  this  it  is  sufficient  to  state  that  the  demands  which 
Gutzkow  made  were  probably  too  great  to  be  entirely  fulfilled  in  any 
single  work.  Their  major  importance  lies  rather  in  their  statement 
as  a  program.  In  practice,  as  is  usual  with  theories,  modification 
became  necessary.  In  a  preface  to  a  later  edition  of  the  "Ritter  vom 
Geiste"  Gutzkow  states  that  after  all  the  machinery  of  the  novel  is 
not  the  thing  of  greatest  importance.  True  to  his  early  principles, 
he  says  that  the  thought  and  not  the  form  is  for  him  the  chief  considera- 
tion.    He  also  restates  his  attitude  toward  realism  in  literature.     Char- 

^  S.  Lublinski,  Literatur  und  Gesellschaft,  II,  p.  144. 

'"  R.  Fiirst,  Deutschlands  Roman  im  neunzehnten  Jahrhundert,  80-81. 

"  R.  Furst,  loc.  cil. 

"For  estimates  upon  this  point  see  (1)  Friedrich  Kummer,  Literaturgeschichte 
des  19.  Jahrhunderts,  p.  253,  (2)  H.  Mielke,  Der  Deutsche  Roman,  p.  174,  (3)  Adolf 
Bartels,  Geschichte  der  deutschen  Literatur,  Vol.  II,  p.  165. 

"R.  Fiiist,  Deutschlands  Roman  im  neunzehnten  Jahrhundert,  80-81. 


28  KARL  GUTZKOW'S  SHORT  STORIES 

acters  must  be  real  to  the  extent  that  they  are  persons  of  flesh  and  blood 
and  not  mere  abstractions,  but  any  attempt  of  an  author  to  reproduce 
actuahty  is  a  mistake. ^^ 

In  1868  in  "Vom  Baume  der  Erkenntnis"  Gutzkow  discusses  in 
some  detail  the  differences  between  the  rofnan,  the  novelle,  and  the  er- 
zdhhmg,  and  although  it  cannot  be  claimed  that  he  makes  any  contribu- 
tion of  definite  value  to  the  critical  theory  that  touches  upon  these  forms, 
his  discussion  is  important  in  that  it  shows  his  criteria  for  judging  these 
species. 

The  ro?nan,  the  novelle,  and  the  erzdhlung  have  the  one  point  in 
common  that  they  concern  themselves  with  the  presentation  and  un- 
folding of  human  fate.  They  differ  in  manner  of  treatment.  The 
roman  depicts  human  destiny  as  it  is  shaped  by  universal  forces,  such 
as  history,  national  customs,  great  moral  codes,  the  currents  of  the  times, 
the  claims  of  religion,  of  art,  of  social  classes,  or  of  family.  The  novelle 
treats  of  the  course  of  human  lives  when  influenced  by  restrictions  of 
a  special  sort.  The  chronicle  instead  of  history,  local  customs  instead 
of  national  customs,  isolated  fads  instead  of  common  usages,  abnormal 
conditions  of  the  time  instead  of  normal  conditions,  and  the  claims  of 
particular  sciences  instead  of  general  science,  affect  the  destiny  of  human 
beings  in  the  novelle.  In  the  erzdhlung  these  external  forces,  both  general 
and  particular,  are  excluded.  Hum.an  destiny  is  determined  by  its  own 
inner  Hmitations. 

Gutzkow  ascribes  to  chance,  or  fate  (Zufall),  the  leading  role  in  the 
novelle.  The  direction  and  end  of  earthly  life  rests,  he  says,  upon  chance. 
The  caprice  of  chance  is  the  mainspring  of  the  novelle,  the  cause  of  its 
action. 

In  pursuing  the  difference  between  roman  and  novelle,  he  states  that 
there  can  be  only  art  novels  (Kunstromane)  and  artist  novellen  (Kiinst- 
lernovellen).  There  are  novels  of  manners  (Sittenromane)  but  village 
novellen  (Dorf novellen).  In  other  words,  it  is  the  size  of  the  canvas 
which  the  author  uses  and  the  nature  of  the  surrounding  conditions, 
universal  or  particular,  which  determine  the  genre. 

He  devotes  a  few  words  to  the  relationship  of  these  forms  to  the  drama. 
The  erzdhlung,  he  asserts,  is  an  objectively  told  drama.  The  roman 
and  the  novelle  can  only  with  difficulty  be  dramatized  and  any  attempt 
to  do  this  is  dangerous. 

"Preface  to  the  third  edition  of  "Die  Ritter  vom  Geiste." 


KARL  GUTZKOW  S  SHORT  STORIES  29 

The  novelle  and  the  roman  are  productions  of  a  higher  type  than  the 
erzahbmg.  They  require  artistic  execution.  The  erzdhlung  need  bear 
only  the  marks  of  authenticity  and  logical  accuracy.  Of  the  three  the 
novelle  is  the  most  difficult  form,  since  chance  must  not  operate  within 
it  as  a  blind  force.  It  must  appear  so  to  act  to  the  characters  within 
the  story  but  in  reality  it  must  be  motivated  and  be  inevitable  rather 
than  accidental.  Since  this  is  true,  Gutzkow  draws  the  conclusion  that 
the  task  which  the  novelle  sets  for  itself  can  be  accomplished  only  through 
the  agency  of  humor  (Humor),  the  highest  gift  of  Hterary  creative  power 
and  one  which  even  writers  of  note  possess  only  sparingly. 

It  thus  seems  evident  from  what  Gutzkow  has  written  upon  literary 
theory  that  he  desired  a  literature  that  should  be  elevated,  which  should 
appeal  to  but  a  limited  class  of  readers,  an  educated  and  discriminating 
circle,  which  should  aim  to  guide  the  masses  rather  than  to  flatter  them, 
which  should  possess  elements  of  idealism  and  be  more  than  a  reflection  of 
the  common,  the  sordid,  and  the  everyday,  which  should  have  a  basis  in  life 
sufBcient  to  render  its  happenings  probable  but  which  should  avoid  any 
thing  approaching  photographic  reproduction.  Thought,  ethical  content, 
should  receive  the  author's  first  consideration.  Form,  although  import- 
ant, should  be  subordinated  to  this.  The  element  of  instruction  should 
in  the  case  of  a  conflict  with  the  desire  to  please  or  entertain  be  regarded 
as  the  weightier  motive,  that  is,  purpose,  "Tendenz, "  should  remain  the 
principal  objective  of  the  author.  He  was  bitterly  opposed  to  Roman- 
ticism and  was  a  staunch  advocate  of  the  modern  conception  of  the 
world.  His  contributions  to  the  theory  of  the  novel  are  more  valuable 
than  is  his  treatment  of  the  novelle  and  the  smaller  literary  genres.  In 
che  matter  of  the  "  Nebeneinander "  he  is  a  pioneer  and  did  work  of 
mestimable  value  but  at  the  same  time,  as  has  been  pointed  out,  he  was 
not  the  only  one  at  work  in  this  field.  Karl  Postl  shares  with  him  the 
merit  of  producing  works  which  show  a  thorough  knowledge  of  its 
technique  and  the  ability  to  use  it  effectively. 


CHAPTER  VI 

Contents  of  the  Short  Stories 

Before  proceeding  to  a  technical  analysis  of  the  stories  a  short  sum- 
mary comprising  the  essential  details  of  the  action  in  each  will  be  given. 
The  order  in  which  these  summaries  are  presented  is  a  chronological 
one,  based  upon  the  dates  as  given  in  the  author's  collected  works  in 
the  Costenoble  edition,  June,  1872,  and  in  the  volume  entitled  "Kleine 
Romane  und  Erzahlungen"  of  the  edition  pubUshed  by  H.  H.  Houben.' 

1.  Der  Prinz  von  Madagascar.  1834.  Hippolyt,  heir  of  the  native 
royal  family  of  the  island  of  Madagascar,  is  captured  by  the  French  on 
one  of  their  numerous  raids  and  taken  as  a  hostage  to  Paris.  With 
Colas,  his  faithful  servant,  he  lives  there  contentedly,  becomes  a  lieuten- 
ant in  the  army,  and  thinks  little  of  his  distant  possessions  until  a  dis- 
appointment in  love  determines  him  to  return  and  attempt  to  recover 
his  throne.  Accompanied  by  Polyglotte,  a  professor  of  languages,  whom 
they  have  secured  to  act  as  interpreter,  he  and  Colas  set  sail.  They 
land  at  St.  Mary's,  a  small  island  just  off  the  coast  of  Madagascar. 
Before  Hippolyt  is  able  to  devise  a  plan  for  regaining  control  of  his 
kingdom,  he  is  captured  one  day  by  a  band  of  dusky  natives  from  his 
own  islands,  taken  to  the  interior  of  Madagascar,  and  sold  as  a  slave. 
With  the  aid  of  Araxata,  a  princess  but  also  a  slave,  and  of  a  native 
woman  who  claims  to  have  been  Hippolyt's  nurse  before  he  was  kid- 
napped and  carried  to  Europe,  Hippolyt  makes  his  escape  to  his  friends. 
The  nurse  sacrifices  her  life  to  ensure  his  safety,  being  killed  by  a  pur- 
suing band  of  natives.  Hippolyt,  Polyglotte,  Colas  and  Araxata  leave 
on  the  first  ship  for  France.  Araxata  is  unable  to  endure  the  sea  voayge 
and  dies  in  mid  ocean.  Hippoh't  mourns  the  loss  of  Araxata  whom  he 
had  come  to  love,  gives  up  all  pretensions  to  the  rule  of  Madagascar, 
and  resumes  his  position  in  the  French  army. 

2.  Kanarienvogeh  Liebe  und  Leid.  1834.  Matzchen,  a  simple 
Thuringian  canary  bird,  innocently  falls  in  love  with  its  image  in  the 
mirror.  The  family  cat  recognizes  the  bird's  mistake,  derives  consider- 
able amusement  from  it,  and  finally  disillusions  Matzchen.  Grief  at 
the  disappointment  causes  the  canary  to  pine  away.  Released  from  its 
cage  by  the  cat  for  a  last  look  at  its  mate  in  the  mirror,  it  is  killed  just 
at  that  moment  by  its  false  friend. 

'  H.  H.  Houben's  Gutzkovv  Fur.de  contains  a  complete  list  of  Gutzkow's  works 
in  chronological  order.     Cf.  pp.  543-554. 


KARL  GUTZKOW'S  SHORT  STORIES  31 

3.  Der  Sadduzder  von  Amsterdam.  1834.  Uriel  Acosta  has  been  led 
by  his  studies  and  investigations  with  regard  to  rehgion  to  question  the 
orthodox  teachings  of  the  Jewish  belief.  For  this  he  is  sentenced  to 
be  excommunicated.  When  the  decree  is  read  all  his  friends,  including 
Judith,  his  betrothed,  forsake  him.  For  two  months  Uriel  remains 
outside  the  pale  of  the  church.  Then  love  for  Judith  causes  him  to 
recant  and  be  received  again  into  the  synagogue.  Once  more  doubts 
trouble  him.  He  drifts  further  than  before  from  the  accepted  doctrines 
of  his  faith  and  is  again  put  under  the  ban.  For  Judith's  sake  he  recants 
a  second  time,  and  this  time  he  is  obliged  to  submit  to  the  most  humilia- 
ting of  penances.  Once  more  received  into  the  church,  he  finds  that 
the  sacrifice  of  his  convictions  has  been  made  in  vain.  Judith  has 
married  Ben  Jochai.  Desiring  revenge  for  Jochai's  treachery,  Uriel 
shoots,  but  by  mistake  kills  Judith.     He  then  kills  himself. 

4.  Seraphine.  IS 35.  Seraphine  is  a  teacher  in  a  private  school 
for  girls,  later  governess  in  the  home  of  Frau  von  Magnus.  Brought 
up  in  straitened  ckcumstances,  she  is  obliged  to  shift  for  herself  and  in 
the  struggles  is  favored  neither  by  fortune  nor  by  love.  Arthur  Stahl, 
her  first  lover,  is  an  ambitious,  ideally  inclined,  but  pessimistic  office 
seeker.  Seraphine's  attitude  toward  him  is  one  of  affectionate  resigna- 
tion, and  is  featured  by  an  intensely  sentimental  correspondence  which 
she  carries  on  with  him.  Her  second  lover,  Edmund  von  Oppen,  is 
the  antithesis  of  Arthur,  a  receptive,  yielding,  tolerant,  and  injudicious 
character.  Toward  him  Seraphine's  manner  is  abrupt  and  resolute. 
A  third  lover,  Philipp,  a  forester,  is  a  rude,  primitive  type  of  man,  some- 
what superstitious  and  bigoted.  Him  she  later  marries.  Meanwhile 
in  Herr  von  Magnus,  whose  wife  is  coquetting  with  Arthur  and  Edmund, 
Seraphine  finds  another  friend.  This  friendship  she  does  not  permit 
to  ripen  into  love.  An  accident  to  Herr  von  Magnus  recalls  the  wife 
to  her  place  of  duty  at  her  husband's  side.  A  duel  between  Arthur  and 
Edmund  is  prevented  by  the  timely  appearance  of  Seraphine.  The 
latter  after  a  short  and  unhappy  married  life  dies  in  giving  birth  to  a 
child. 

5.  Arabella,  1835.  Arabella,  the  young  widow  of  the  Duke  of  Devon- 
shire, is  passionately  desirous  of  captivating  Ottokar,  a  handsome 
Austrian  nobleman.  Unfortunately,  she  is  unable  to  do  this  because 
of  her  lack  of  beauty.  The  JNIarquis  de  Negro  discovers  her  longing  and 
promises  to  render  her  most  beautiful,  if  she  will  at  the  expiration  of 
three  hundred  days  marry  him.  Arabella's  vanity  causes  her  to  assent 
to  this  proposition.     A  secret  cosmetic  preparation  does  all  that  de 


32  KARL  GUTZKOW'S  SHORT  STORIES 

Negro  has  claimed  for  it,  and  Arabella  finds  herself  the  centre  of  many 
admirers,  of  whom  Ottokar  becomes  the  favorite.  His  proposal  of 
marriage  follows  naturally,  but  Arabella's  agreement  with  de  Negro 
prevents  its  acceptance.  Downcast  at  this  rejection,  Ottokar  leaves 
England  and  travels  on  the  continent  in  an  effort  to  forget  his  disappoint- 
ment. Returning  he  carefully  avoids  his  former  associates  and  devotes 
himself  to  his  passion,  that  of  gambling.  Always  successful  in  this,  he 
one  day  meets  a  stranger  and  wins  from  him  all  his  possessions.  Finally 
the  stranger,  who  is  de  Negro,  reveals  his  identity,  and  offers  to  wager 
Arabella,  his  betrothed,  on  the  condition  that  should  Ottokar  again 
be  successful  he  would  restore  to  him  all  his  previous  losses.  Ottokar 
agrees  and  again  wins.  The  Marquis  immediately  conducts  him  to 
Arabella,  whom  Ottokar  finds  far  more  beautiful  than  before.  As  he 
soon  discovers,  however,  certain  metallic  ingredients  in  the  cosmetic 
have  had  a  deleterious  efifect  upon  her  system  and  Arabells  has  become 
blind.  Nevertheless,  Ottokar  remains  faithful  and  pleads  with  her  to 
give  up  the  use  of  the  preparation.  Her  vanity  will  not  permit  the  sacri- 
fice. As  a  result  her  other  senses  are  gradually  dulled  and  destroyed 
also  until,  inwardly  wasted  away,  although  outwardly  beautiful,  she 
at  last  dies,  a  victim  of  her  own  vanity. 

6.  Schauspieler  vom  Hamburger  Berge.  1839.  This  sketch  relates 
the  history  of  two  persons  in  theatrical  life.  Both  are  failures  in  their 
profession,  Albertine  because  of  her  uncontrollable  temper,  Heinrich 
M.  because  he  lacks  all  genuine  dramatic  talent. 

7.  Das  Stelldichein.  1839.  Graf  Hugo,  although  married  to  a 
charming  wife  and  the  father  of  a  promising  young  daughter,  dehghts 
in  carrying  on  petty  love  adventures.  While  riding  one  day  in  a  public 
cab,  he  finds  a  letter  containing  what  appears  to  be  a  request  from  a  lady 
of  high  rank  for  a  rendezvous  with  someone.  He  determines  to  meet 
the  appointment.  Following  the  directions  given,  to  his  great  surprise 
he  meets  his  own  wife.  It  develops  that  the  latter's  maid  has  lost  the 
letter,  and  that  the  appointment  in  reality  was  with  a  noted  artist 
whom  the  countess  had  engaged  to  paint  a  picture  of  herself  as  a  sur- 
prise for  her  husband  on  his  birthday.  The  count  adroitly  extricates 
himself  from  an  embarrassing  situation  and  from  that  time  on  exercises 
more  caution  in  his  love  adventures. 

8.  Die  Wellenbraut.  1843.  Idahne,  daughter  of  the  prime  minister, 
is  engaged  to  Count  Waldemar,  also  prominent  in  official  circles.  At 
a  reception  held  in  her  honor  by  her  uncle  a  gondola  trip  furnishes  the 
principal  entertainment.     Idaline's  craft  is  managed  by  a  young  man 


KARL  GUTZKOW'S  SHORT  STORIES  33 

with  whom  she  is  unacquainted,  but  who  nevertheless  exercises  a  pecu- 
liar domination  over  her.  So  strong  is  this  that  in  response  to  a  sugges- 
tion of  his,  she  throws  her  engagement  ring  into  the  lake.  Later,  at 
an  exhibit  of  paintings,  she  and  Theobald  see  each  other,  and  although 
no  further  acquaintanceship  develops,  Idaline  nevertheless  becomes 
conscious  that  Theobald  occupies  a  place  in  her  thoughts  that  should 
be  held  only  by  her  fiance.  Count  Waldemar.  Theobald  also  has  similar 
feelings  toward  her.  Neither,  however,  reveal  their  sentiments.  Ida- 
line  and  Waldemar  marry.  The  count  soon  realizes  that  Idalines' 
affections  are  not  his  to  the  extent  that  they  should  be.  A  summer 
spent  together  on  his  country  estates  in  Silesia  will,  he  hopes,  unite 
him  more  closely  with  his  wife.  Duties  of  state,  however,  prevent  his 
remaining  long  in  Silesia.  Before  he  returns  to  the  capital  Idaline 
hands  him  a  written  confession  of  her  feeling  toward  Theobald  as  it 
existed  at  the  time  of  her  marriage,  but  both  husband  and  wife  now 
believe  that  time  has  effaced  this  feeling.  Hence  Waldemar  carries 
no  sense  of  anxiety  with  him  when  he  departs.  A  few  days  later  a 
stranger  is  injured  by  a  fall  in  the  mountains  and  by  orders  from  Idaline 
is  taken  care  of  at  the  castle.  Recovered  from  his  fall,  Theobald,  for 
it  is  he,  desires  before  leaving  to  express  his  gratitude  to  Idaline.  The 
sight  of  each  other  causes  the  former  feelings  to  return.  Instead  of 
leaving  as  he  had  planned,  Theobald  remains  and  the  two  pass  the  entire 
summer  together.  Only  when  the  coming  of  the  count  is  announced 
does  Theobald  leave.  Oppressed  by  a  sense  of  guilt,  Idaline  feels  herself 
unable  to  meet  her  husband,  and  at  the  moment  of  his  arrival  drowns 
herself  in  the  lake  at  the  rear  of  the  castle. 

9.  Die  Konigin  der  Nacht.  1844.  Rumors  of  a  secret  relationship 
between  Ladoiska,  the  leading  court  opera  singer,  and  crown  prince 
Max,  the  heir  apparent  to  the  throne  of  a  small  principality,  are  per- 
sistent, but  appear  to  lack  convincing  proof.  The  princess  Jucunde 
whom  Max  is  soon  to  marry  hears  these  reports  and  desires  to  test  their 
truthfulness.  The  prince's  answer  however,  is  such  that  the  princess 
feels  herself  obHged  to  believe  the  truth  of  the  rumors.  During  the 
performance  of  an  opera  on  the  evening  of  their  wedding  day  and  in 
honor  of  their  union,  the  blossom  of  a  century  cactus  which  the  prince 
had  obtained  at  great  expense  as  a  special  token  of  his  love  for  his  bride, 
mysteriously  disappears.  The  princess,  a  skilled  botanist,  by  means 
of  her  sense  of  smell  traces  the  lost  blossom  until  after  a  considerable 
search  she  finds  it  in  the  apartments  of  Ladoiska.  The  prince  displays 
embarassment  during  the  last  part  of  the  quest,  and  the  mystery  of 


34  KARL  GUTZKOW'S  SHORT  STORIES 

the  relationship  which  had  existed  between  him  and  Ladoiska  is  solved 
by  the  discovery  of  a  secret  door  and  stairway  leading  to  the  latter's, 
apartments.  Love  for  his  bride,  however,  proves  the  stronger  passion 
and  Ladoiska  leaves  very  soon  for  an  extended  opera  engagement. 

10.  Die  Selbsttaufe.  1844.  Gottfried  Eberlin,  candidate  for  the 
degree  of  doctor  of  philosophy,  a  young  man  of  good  education  and 
brilUant  intellectual  powers,  at  a  time  of  discouragement  and  disappoint- 
ment makes  the  acquaintance  of  Agathe  Wallmuth,  a  young  woman  of 
good  family,  possessed  of  genuine  feeling,  but  utterly  lacking  in  brilliancy 
and  initiative.  They  become  engaged.  Agathe's  father  and  sister 
at  first  find  no  fault.  The  former's  attempts  to  prescribe  the  relations 
that  shall  obtain  between  the  engaged  couple,  however,  precipitate  a 
crisis  that  results  in  breaking  off  the  correspondence.  Later  the  two  meet 
in  the  city  where  Agathe  has  her  home.  Meanwhile  Gottfried's  cir- 
cumstances have  changed.  Success  beckons  to  him.  He  beheves  that 
each  individual  has  the  right  to  shape  his  own  destiny  so  far  as  he  is 
able  to,  to  decide  his  own  place  in  society,  to  choose  his  own  religion,  and 
even  to  elect  the  name  that  he  shall  bear.  Acting  upon  this  behef,  he 
has  changed  his  own  name  from  Gottfried  to  Ottfried.  Under  this 
name  he  becomes  an  object  of  interest  to  Sidonie,  Agathe's  elder  sister, 
a  young,  wealthy,  and  attractive  widow.  Through  her  efforts  Ottfried 
becomes  reconciled  to  the  father  and  is  looked  upon  with  favor  as  a 
suitor  for  Agathe's  hand.  Time  and  a  closer  acquaintance  with  Sidonie, 
however,  reveal  to  Ottfried  that  the  older  sister  possesses  the  greater 
attraction  for  him  and  is  more  nearly  his  intellectual  equal.  Whereas 
he  now  feels  that  a  lifelong  companionship  with  Agathe  would  prevent 
his  own  full  development,  he  is  equally  certain  that  a  union  with  Sidonie 
would  spur  him  to  his  best  efforts.  Sidonie  is  passionately  in  love  with 
Ottfried  and  also  realizes  this.  An  important  diplomatic  service  that 
is  entrusted  to  Ottfried  prevents  his  presence  at  a  dinner  where  a  formal 
announcement  of  his  engagement  to  Agathe  was  to  be  made.  The 
announcement  is  deferred  and  is  never  made.  Ottfried  remains  in 
Vienna  whither  he  has  been  sent.  A  few  months  later  Sidonie  follows 
him  there.  Agathe,  bitterly  disappointed  and  heartbroken,  dies  shortly 
afterward. 

IL  Eine  Phantasieliebe.  1845.  Imagina  Unruh's  earh'  life  has 
been  spent  partly  under  the  care  of  nuns  in  a  convent  and  partly  among 
the  fields  and  mines  of  her  native  Silesia.  She  has  lacked  a  mother's 
care  and  has  grown  up  a  romantic,  fanciful  creature.  A  wonderful  dream 
of  King  Cobalt  in  his  underground  realm  sending  his  young  son.  Prince 


KARL  GUTZKOW'S  SHORT  STORIES  35 

Wismuth,  out  into  the  world  and  taking  from  the  devil  as  a  pledge  for 
his  safety  from  evil  influences  while  there  the  seven  deadly  sins,  makes 
a  profound  impression  upon  her  mind  and  forms  a  romantic  background 
for  the  story.  From  the  time  Imagina  is  thirteen  until  she  is  eighteen 
years  of  age,  she  attends  a  boarding  school  in  Breslau.  Immediately 
after  leaving  this  she  is  married  to  the  young  count  of  Wartenberg. 
Unused  to  the  "high  life"  at  the  various  resorts  visited  during  the  honey- 
moon trip,  she  is  unable  to  hold  her  husband's  affection.  He  falls  in 
love  with  a  PoUsh  countess,  Feodore  Zaluska.  A  young  man  whom 
Imagina  sees  at  various  times  reminds  her  strongly  of  the  Prince  Wismuth 
of  her  childhood  dream.  In  a  diary  which  she  keeps  for  her  own  diver- 
sion she  interweaves  a  mass  of  facts  and  fictions  regarding  her  surround- 
ings and  in  this  narrative  Prince  Wismuth,  Otto  Sudburg,  plays  a  roman- 
tic role  in  the  writer's  life.  In  the  suit  which  Wartenberg  soon  brings 
for  divorce,  this  diary  is  produced  as  evidence  of  Imagina's  infidehty. 
At  first  Imagina  contests  the  suit  and  Wartenberg  is  likely  to  lose,  for  the 
fictitiousness  of  much  of  the  diary  soon  becomes  manifest.  Later  Ima- 
gina meets  Otto  Sudburg  in  Italy,  learns  from  him  the  story  of  his  Hfe, 
which  bears  a  strange  resemblance  to  her  early  dream,  and  in  order  to 
save  him  from  marrying  Feodore,  whom  he  has  promised  to  marry  and 
provide  for  in  case  Wartenberg  is  unsuccessful  in  his  divorce  suit,  but 
who  would  be  certain  to  ruin  his  own  life,  withdraws  her  defense  and 
permits  the  decree  to  be  granted. 

12.  Der  EmporUick.  1852.  Ernst  Oswald  goes  to  a  large  city  to 
complete  his  preparation  for  the  legal  profession.  There  he  becomes 
acquainted  with  Ernestine  Waldmann,  the  daughter  of  an  old  army  friend 
of  his  father.  Although  they  belong  to  widely  separated  social  classes, 
they  become  close  friends.  Scharfneck's  attempts  to  break  off  this 
friendship  by  argument  and  by  illustrations  of  the  general  low  moral 
standards  of  the  common  classes  prove  futile.  Ernst  is  unconvinced. 
Circumstances,  however,  adjust  themselves  so  that  the  friendship  is 
twice  interrupted.  Ernestine's  brothers  have  on  several  occasions 
committed  minor  offenses  against  the  law.  Finally  an  offense  so  grave 
has  been  committed  by  them  that  severe  punishment  awaits  them  if  it 
is  discovered.  Their  only  hope  other  than  in  flight  lies  in  using  the  sister 
as  a  tool  to  secure  money  from  Ernst  with  which  to  conceal  their  thefts. 
Ernestine  has  been  taking  private  lessons  from  a  tutor,  Lude  Wachter, 
and  this  man  fearing  to  leave  his  savings  in  his  own  room  has  placed  them 
in  Ernestine's  care.  Lude  Wachter,  moreover,  is  anxious  to  marry 
Ernestine,  but  her  love  is  for  Ernst.     Now  in  order  to  shield  her  brothers 


36  KARL  GUTZKOW'S  SHORT  STORIES 

Ernestine  gives  them  this  sum  of  money,  thinking  to  repay  Wachter 
in  the  only  way  possible,  by  marrying  him  as  he  desires.  The  next  night 
Wachter  is  mysteriously  murdered.  Owing  to  Ernestine's  relationship 
to  Wachter,  she  is  at  once  suspected  of  the  murder.  The  real  murderers, 
the  brothers  and  some  of  their  friends,  are  soon  discovered,  however, 
and  Ernestine  is  liberated.  Before  Ernst  is  able  to  see  her,  she  has  left 
the  city.  His  efforts  to  find  her  prove  unsuccessful.  Returning  after 
several  years  as  a  companion  and  reader  for  a  Russian  countess,  Ernst 
again  meets  her.  Diligent  study  and  contact  with  good  society  have  in 
the  meantime  given  Ernestine  thorough  knowledge  in  many  lines  and  a 
degree  of  refinement  that  enables  her  to  present  a  good  appearance  in 
any  society.  Her  health,  however,  is  undermined.  Before  the  formal 
engagement  of  the  two  can  come  to  a  happy  termination  in  marriage, 
Ernestine  dies.  Ernst  remains  true  to  her  memory  and  never  marries. 
13.  Die  Kurslauben.  1852.  Leontine  Simonis  yields  to  her  parents' 
wishes  and  marries  Michael  Herz,  a  rich  broker,  instead  of  Dr.  Moritz 
Sancho,  a  penniless  poet  and  enthusiast,  whom  she  really  loves.  Herz 
is  sufficiently  keen  to  detect  the  danger  in  this  former  relationship,  and 
uses  an  element  in  his  wife's  character,  greed,  as  a  means  of  combating 
her  secret  disloyalty.  His  efforts  prove  successful  and  Leontine's  inter- 
ests become  practical  instead  of  sentimental.  For  three  years  Sancho 
makes  no  attempt  to  enter  the  family  circle  and  the  domestic  situation 
is  untroubled.  At  the  end  of  this  period,  however,  he  reappears  sud- 
dently,  is  welcomed  by  Leontine,  and  begins  to  plot  to  undermine  her 
in  his  wife's  affections.  Leontine  desires  to  appear  in  a  practical  light 
before  Sancho,  and  in  order  to  do  this  she  dissembles  her  feelings  and 
pretends  to  certain  interests  long  since  outgrown.  Meanwhile  the  exten- 
sion of  the  electric  telegraph  has  rendered  the  carrier  pigeons  employed 
by  Herz  to  procure  advance  information  of  market  conditions  valueless 
for  that  purpose,  and  following  Leontine's  suggestion  it  is  decided  to 
serve  them  as  the  principal  dish  at  a  dinner  at  which  Sancho  is  to  be  a 
guest.  When  Sancho  arrives,  he  secretly  hands  Leontine  a  poem  which 
he  has  written  upon  the  subject  of  her  care  of  the  pigeons  in  which  he 
expresses  his  own  feehngs  for  Leontine  in  stronger  terms  than  any  he  had 
yet  ventured  to  use.  During  the  course  of  the  meal,  however,  some  re- 
marks inadvertently  made  by  Herz,  serve  to  reveal  to  Sancho  Leontine's 
hypocrisy  and  her  utter  lack  of  genuine  poetical  feeling.  He  quits  the 
scene  utterly  disillusioned,  leaving  Leontine  shamed  by  the  consciousness 
of  her  previous  vacillating  conduct,  and  Herz  for  the  first  time  in  full 
possession  of  his  wife's  affection.  Sancho  later  marries  elsewhere  and 
leads  a  life  of  comfortable  mediocrity. 


KARL  GUTZKOW'S  SHORT  STORIES  37 

14.  Konig  Franz  in  Fontaineblean.  1851.  Blanche  Naudet  and 
her  lover,  Firman  Allard,  in  order  to  secure  for  the  latter  a  position  in 
the  royal  armory  at  Paris,  practice  a  deception  upon  King  Francis.  The 
king  in  spite  of  his  many  >"ears  and  his  feeble  health  desires  to  appear 
more  rugged  and  youthful  than  those  about  him.  The  courtiers  indulge 
him  in  thus.  Blanche  quickly  recognizes  the  situation  and  persuades 
Firman  to  masquerade  as  a  cripple  when  he  is  presented  to  the  king. 
Very  soon  afterward,  however,  the  deception  is  discovered  and  the  king 
is  at  first  extremely  angry,  but  relenting  quickly  he  retains  the  two  in 
his  favor  and  permits  Firman  to  become  foreman  in  the  royal  armory. 

15.  Die  Nihilisten.  1853.  The  background  of  the  story  is  found 
in  the  milieu  of  the  events  of  the  Revolution  of  1848.  The  NihiUsts 
are  a  group  of  radicals  who  wish  to  substitute  nature  in  the  place  of 
law,  and  convention,  as  the  guiding  force  in  life,  who  desire  absolute 
freedom  of  thought  and  action,  are  sceptical  of  existing  institutions  and 
authority,  and  hence  are  objects  of  suspicion  to  the  government,  which 
banishes  them  from  the  capital,  after  which  the  revolutionary  days  with 
their  kaleidoscopic  changes  furnish  the  members  of  this  group  a  test  of 
the  strength  and  vaUdity  of  these  principles.  Eberhard  Ott  and  Hertha 
Wingolf  emerge  successfully  from  the  trying  ordeal,  stronger  and  nobler 
than  before.  Constantin  Ulrichs,  the  former  brilhant  leader,  fails  to 
measure  up  to  the  test  and  exposes  a  fatal  weakness  of  character.  The 
result  shows  him  to  superficial  and  lacking  in  stabiUty.  His  conduct 
stands  in  marked  contrast  to  that  of  Ott.  Twice  material  advantage 
gains  a  victory  in  him  over  moral  obligation.  Twice  he  breaks  his 
plighted  word,  once  to  Agnes  Planer,  and  again  to  Herta.  Ott,  a  man 
of  solid  virtues,  entirely  lacking  in  ostentation,  at  first  a  follower  of 
Ulrichs,  is  forced  to  leave  him  in  order  to  remain  true  to  himself.  He 
marries  Agnes  whom  Ulrichs  has  deserted.  Later,  a  widower,  he  mar- 
ries Hertha.  The  latter  has  passed  through  the  most  striking  develop- 
ment in  character  of  all  the  persons  in  the  novel.  From  an  ardent 
advocate  of  greater  rights  for  women  and  emancipation  for  the  fem.ale 
sex  in  the  sense  of  George  Sand's  writings,  she  has  become  through  a 
severe  refining  process  a  woman  of  genuine  nobility  of  character  and  soul. 

16.  Jean  Jacques.  1854.  Jean  Jacques  is  an  intim.ate  psycholo- 
gical study  of  Rousseau's  motives  in  placing  his  children  in  a  public 
orphanage.  The  author  aims  to  show  that  conviction  and  adherence 
to  principle  were  responsible  for  this  act.  Rousseau  realized  that  con- 
ditions in  his  own  home  were  such  that  the  proper  moral  and  intellectual 
environment  was  lacking  and  that  even  a  state  institution  could  supply 


38  KARL  GUTZKOW'S  SHORT  STORIES 

this  better  than  he.  Hence  he  considered  the  giving  over  of  the  care 
and  training  of  his  children  to  the  state  as  not  only  a  sacrifice  on  his 
part  as  parent,  but  also  as  a  commendable  act,  a  noble  deed.  The 
story  as  a  whole  constitutes  an  excellent  study  of  the  influence  of  en- 
vironment, especially  as  represented  by  conditions  among  the  lower 
classes  of  society. 

17.  Der  PJefer-Matthes.  1854.  Pfeffer-AIatthes  is  an  inmate  of  an 
insane  as3-lum  whose  mania  takes  the  form  of  making  Christmas  presents. 
Known  for  years  as  the  stingiest  man  in  his  native  village,  he  has  at 
all  times  and  especially  at  the  Christmas  season  persistently  refused 
to  give  presents.  In  order  the  better  to  avoid  this,  he  spends  each 
Christmas  eve,  when  others  are  celebrating,  at  his  wife's  grave  in  the 
churchyard.  One  extremely  cold  night  he  succumbs  to  the  weather  and 
although  rescued  and  restored  physically  is  rendered  mentally  unbalanced 
by  the  exposure.  From  this  time  on  whether  through  fear  at  some  vision 
which  he  had  had  that  evening  or  for  some  other  motive,  he  is  continually 
desirous  of  giving  Christmas  presents  and  has  to  be  removed  to  a  hos- 
pital for  the  insane. 

18.  Die  Diakonissin.  1855.  Oberst  van  der  Busch,  a  Dutch  official 
in  Java,  while  on  leave  of  absence  in  Europe,  becomes  engaged  to  Natalie 
Hartlaub.  Accompanied  by  Gerhart  Hartlaub,  the  brother  of  his 
fiancee,  he  returns  to  Java  to  serve  the  few  remaining  years  that  are 
necessary  before  he  can  retire  from  the  colonial  service  and  return  to 
Europe  to  claim  his  bride  and  take  up  a  permanent  residence.  While 
in  London  he  takes  out  an  insurance  policy  in  the  Equitable  Society 
in  which  he  specifies  Natalie  as  the  beneficiary.  Returned  to  Java,  he 
falls  a  victim  to  a  malignant  tropical  disease  which  proves  incurable. 
Racked  by  suffering  and  despairing  of  securing  relief  the  Oberst  finally 
commits  suicide.  In  order  to  secure  his  sister  in  the  possession  of  the 
insurance  money,  Hartlaub  conceals  the  circumstances  of  his  friend's 
death  and  reports  it  as  occurring  from  natural  causes.  Thirty  years 
after  this  event  he  returns  to  Europe  and  finds  his  sister  happily  married 
to  a  very  wealthy  merchant,  Jacob  Wisthaler.  The  fortune  which  this 
man  possesses  had  its  origin  in  the  dowry  of  his  wife,  the  insurance 
funds  left  by  van  der  Busch.  The  latter's  relatives,  wealthy  at  the  time 
of  his  visit  to  Europe,  suffered  financial  reverses  at  about  the  time  of 
his  death.  Left  destitute  in  this  way,  they  made  several  attempts  to 
secure  the  insurance  left  by  van  der  Busch,  but  these  proved  unsuccessful. 
A  niece,  Constanze  Artner,  at  the  time  of  Hartlaub's  return  to  Europe, 


KARL  GUTZKOW'S  SHORT  STORIES  39 

is  the  only  remaining  representative  of  the  family.     A  business  enter- 
prise undertaken  by  her  father  after   dissolving  a  partnership   with 
Wisthaler  resulted  in  failure  and  the  daughter,  shortly  after  bereft  of 
her  parents,  now  intends  to  become  a  deaconess  in  a  hospital.     Wolmar, 
a  young  doctor,  without  either  means  or  practice,  although  deeply  in 
love  with  her,  feels  himself  unable  to  aid  her  and  rather  ingloriously 
permits  circumstances  to  separate  them.     Hartlaub,  back  from  Java, 
learns  these  conditions,  and  realizes  that  the  present  flourishing  state 
of  his  sister  and  her  family  had  its  source  in  the  insurance  left  by  van 
der  Busch.     He  further  realizes  that  Constanze  has  a  moral  claim  to 
this  money,  although  she  lacks  all  legal  claim  upon  it.     In  the  presence 
of  Freydank,  Wisthaler's  attorney,  Hartlaub  reveals  to  Wisthaler  the 
secret  of  van  der  Busch's  death.     Powerfully  moved  by  the  dramatic 
recital,  the  rich  merchant  agrees  to  do  for  the  daughter  what  he  had 
previously  refused  to  do  for  the  father.     He  agrees  to  settle  upon  Con- 
stanze a  sum  equal  to  the  amount  of  the  insurance.     This  will  permit 
Constanze  and  Wolmar,  whom  Constanze  still  loves,  to  marry.     The 
doctor,  however,  before  learning  of  this  and  while  still  unaware  of  Con- 
stanze's  feeling  toward  him,  unexpectedly  meets  her,  and  overcome  by 
a  sense  of  shame  at  the  thought  of  his  former  weakness,  is  unable  to  re- 
main in  the  city  where  he  is  apt  to  meet  her  frequently.     A  dangerous 
epidemic  is  raging  in  a  distant  province,  and  the  need  of  more  physicians 
is  urgent.     Wolmar  leaves  the  city  and  hastens  to  assist  in  stamping 
out  the  disease.     Meanwhile  Constanze  receives  her  settlement.     Wol- 
mar's  departure,  however,  causes  her  to  revert  to  her  original  plan,  and 
she  enters  the  deaconess  hospital  as  a  novice.     Wolm.ar,  who  has  per- 
formed heroic  service  in  subduing  the  plague,  is  himself  after  a  time 
struck  down  by  it.     He  recovers  physically,  but  mentally  is  affected 
seriously  by  loss  of  memory.     An   interview  with   Constanze  finally 
serves  to  recall  him  to  himself.     Soon  afterward,  completely  restored, 
he  marries  Constanze.     Freydank,  meanwhile,  has  married  his  ward, 
Frau  von  Emmen,  and  Hartlaub  finds  in  Juliane,  a  sister  deaconess  of 
Constanze,  a  bride  who  returns  with  him  to  Java. 

19.  Ein  Lehensloos.  1856.  Franz  Gruner  is  a  poetic  example  of 
the  fascination  which  the  stage  exerts  upon  all  who  come  under  its 
sway.  Owing  to  inability  to  adjust  himself  to  circumstances,  he^  loses 
position  after  position  until  he  is  at  length  reduced  to  the  necessity  of 
taking  up  dyeing  and  cleaning  in  order  to  gain  a  Uvelihood.  But  even 
in  the  extremest  proverty,  he  yet  maintains  his  interest  m  the  theatre, 
and  vainly  hopes  either  to  regain  a  place  upon  the  stage  as  a  director 


40  KARL  GUTZKOW'S  SHORT  STORIES 

or  an  actor,  or  else  to  be  successful  in  publishing  a  work  which  he  has 
written  upon  the  staging  of  a  number  of  large  operas. 

20.  Aus  dem  Schwabenland.  1856.  The  Holzenbauer's  horses  and 
wagon  are  stolen  from  the  Ravensburg  marketplace  while  their  owner 
is  enjoying  the  afternoon  in  the  village  tavern.  Discovering  his  loss, 
the  peasant  loudly  and  repeatedly  offers  a  reward  of  ten  crowns  for  their 
recovery.  Speidle,  the  constable,  pursues  the  thief,  recovers  the  stolen 
property,  but  exhausted  by  his  exertions,  permits  the  thief  to  escape 
when  a  little  more  efifort  would  have  led  to  his  capture.  The  thought 
of  the  reward  which  is  to  be  paid  regardless  of  the  capture  of  the  thief 
also  contributes  to  this.  When  the  farmer  regains  his  horses  and  wagon, 
however,  he  refuses  to  pay  the  reward  because  it  has  not  been  specified 
in  wTiting  that  he  should  do  so.  Speidle,  condemned  in  his  own  mind 
for  allowing  the  thief  to  escape,  is  unable  to  collect  the  money.  On  the 
other  hand  the  Holzenbauer's  conscience  troubles  him  for  not  keeping 
his  word.  Finally  in  order  to  make  at  least  slight  amends  for  this 
breach  of  faith,  he  decides  to  present  Speidle  with  a  sack  of  his  finest 
potatoes.  The  latter,  however,  spurns  the  offering  and  throws  both 
gift  and  donor  out  of  the  house.  The  peasant  enters  a  complaint  and  the 
constable  is  obliged  to  pay  a  fine.  Later  Speidle  captures  the  thief  and 
thus  recovers  his  lost  self  respect.  The  Holzenbauer  continues  to  suffer 
qualms  of  conscience. 

21.  Das  Opfer.  1869.  Gabriele  Berger  has  been  happily  m.arried 
for  three  years  to  Justizrat  Wenck.  Nevertheless  she  still  retains  the 
letters  which  she  had  received  previous  to  that  time  from  Hugo  Ellrich. 
The  latter  has  since  died,  but  the  letters  Gabriele  reads  very  often. 
Suddenly  Elsbeth,  her  little  daughter,  is  stricken  seriously  ill  wdth  scarlet 
fever  and  her  life  is  despaired  of.  The  thought  comes  to  the  mother 
that  in  keeping  and  reading  these  love  letters  she  is  guilty  of  a  form  of 
disloyalty  to  her  husband,  and  that  the  sickness  of  her  child  is  a  punish- 
ment for  this.  She  pledges  herself  to  destroy  the  letters  if  Elsbeth 
recovers.  The  mother  overtaxes  her  strength  in  caring  for  the  child, 
and  herself  lies  critically  ill  for  several  weeks.  Recovering  she  finds 
Elsbeth  well  and  strong.  True  to  her  vow  she  makes  the  promised 
sacrifice  and  burns  the  letters. 

22.  Das  Johaimisfeiier.  1872.  Ottilie  Walch,  a  young,  charming 
widow,  is  in  love  with  Heinrich  Rother,  a  law>'er  and  in  secret  a  poet. 
In  the  capacity  of  state's  attorney  Rother  is  obliged  to  conduct  a  suit 
against  Ottilie  to  secure  the  reversion  of  her  estates  to  the  government, 
or  in  lieu  of  this,  the  payment  of  a  sum  sufficiently  large  to  seriously 


KARL  GUTZKOW'S  SHORT  STORIES  41 

affect  her  income  in  order  to  retain  them.  By  accident  Ottilie  comes 
into  possession  of  a  letter  which  reveals  Rother's  identity  as  the  poet 
Hugo  Ubaldi  and  which  shows  furthermore  that  the  slight  demand  for 
his  works  has  resulted  in  the  sale  of  only  a  small  part  of  the  first  edition. 
Rother  is  ambitious  to  have  a  second  edition  printed,  but  of  this  there 
seems  little  prospect.  Meanwhile,  as  counsel  for  the  state,  he  fails  to 
push  his  own  case  with  Ottilie,  something  that  is  disappointing  also 
to  her.  Possessed  of  the  above  information,  Ottilie  purchases  the 
remaining  copies  of  his  works,  and  plans  to  secure  an  artistic  revenge 
upon  Rother  by  burning  them  at  a  festival  on  the  evening  of  Midsummer 
Day.  By  so  doing,  Rother,  she  is  confident,  will  feel  himself  drawn  more 
closely  to  her.  When  he  learns  that  she  has  done  this,  the  way  will  be 
opened  for  a  new  edition,  and  the  somewhat  strained  relations  between 
the  two  will  be  adjusted.  Events  justify  her  judgment.  The  books  are 
burned  in  a  bonfire.  Rother  discovers  that  they  are  his  own  works, 
realizes  the  motive  that  inspired  the  act,  and  acts  as  anticipated  by 
Ottilie.  The  same  evening  the  engagement  is  announced.  A  new 
edition  of  Rother's  works  is  also  soon  to  appear. 

23.  Der  Werwolf.  1870.  "Der  Werwolf"  is  an  historical 
novel  of  the  counter  reformation  period.  The  pecuniary  embarrass- 
ments of  the  imperial  court  of  the  days  of  Rudolf  the  Second  are  pic- 
turesquely described.  The  principal  incident  of  the  story  centers  around 
the  meeting  of  the  Reichstag  in  Augsburg.  Sigmund  von  Landeck,  one 
of  the  emperor's  bodyguard,  while  absent  on  a  furlough,  falls  in  love 
with  Placida  von  Burgess.  His  affection  is  returned,  the  parental 
consent  is  given,  and  all  promises  well.  Sigmund  returns  to  his  duties 
expecting  ere  long  to  marry  Placida.  Soon,  however,  his  letters  unex- 
pectedly receive  no  answer  and  all  his  efforts  to  resume  a  correspondence 
with  Placida  prove  futile,  he  knows  not  why.  It  later  develops  that 
Wenzel  von  Fircks,  a  fellow  member  of  the  imperial  guards,  jealous  of 
Sigmund  and  anxious  to  injure  him,  has  maliciously  imitated  Sigmund's 
handwriting  and  written  letters  to  Placida  in  Sigmund's  name,  that  have 
been  deliberately  insulting.  Placida  has  been  completely  deceived  by 
the  similarity  of  the  writing,  and  the  happiness  of  the  two  appears  doomed 
to  be  wrecked.  When  the  Reichstag  meets,  however,  Placida,  who 
still  loves  Sigmund,  knowing  that  Sigmund  will  be  at  Augsburg  with 
the  emperor's  retinue,  goes  there  with  her  father  in  the  hope  of  seeing 
him.  In  this  she  is  successful,  but  the  circumstances  under  which  she 
sees  him  are  so  mysterious  and  unnatural  that  both  father  and  daughter, 


42  KARL  GUTZKOW  S  SHORT  STORIES 

influenced  by  the  current  superstition  of  the  time,  are  led  to  the  con- 
clusion that  Sigmund  is  a  supernatural  being,  a  werwolf.  Deeply  affected 
by  this  experience,  they  return  home  without  having  held  an  interview 
with  him.  Some  days  later  Sigmund  appears,  the  mystery  explains  itself 
in  a  humorous  and  entirely  natural  manner,  the  malevolence  of  Wenzel 
von  Fircks  is  disclosed,  a  reconciliation  follows  between  Placida  and 
Sigmund,  and  very  soon  afterward  their  marriage  is  celebrated. 


CHAPTER  VII 

The  Point  of  View 

The  point  of  view  is  the  position  from  which  the  events  of  a  story 
are  seen  and  then  related  to  the  reader.  If  the  viewpoint  be  that  of  the 
principal  character  of  the  story,  or  of  some  minor  character,  or  if  it  be 
presented  in  the  form  of  letters,  diaries,  or  other  documentary  evidence, 
it  is  an  internal  viewpoint.  If  it  be  told  as  though  by  some  omniscient 
being  who  not  only  observes  the  outward  manifestations  of  nature  and 
witnesses  the  acts  of  the  characters  but  also  can  see  into  their  minds  and 
analyze  their  mental  processes,  or  by  someone  who  possesses  power  to 
divine  the  thoughts  and  motives  of  but  one  or  more  of  the  characters 
and  is  unable  to  do  this  for  all,  or  if  the  narrator  tells  his  story  from  the 
standpoint  of  a  mere  observer  without  delving  into  the  minds  of  his 
characters,  the  point  of  view  is  an  external  one.  From  one  or  the  other, 
or  a  combination  of  these  viewpoints,  with  their  varying  possibilities, 
do  authors  write  their  productions  of  fiction.  Each  has  special  advan- 
tages accompanied  oftentimes  by  offsetting  disadvantages  and  the 
author  is  obliged  to  choose  what  seems  to  best  suit  his  purpose. 

Gutzkow's  short  stories  show  the  use  of  both  the  internal  and  the 
external  viewpoint  in  their  construction  with  a  preponderating  amount 
of  the  latter  as  might  be  expected  since  this  point  of  view  makes  less 
demands  upon  the  author  and  also  permits  the  Uberal  employment  of  the 
psychological  analysis.  It  is  also  the  one  most  largely  used  by  the 
majority  of  authors. 

The  "Prinz  von  Madagascar"  is  written  as  though  by  someone  who 
knew  well  the  movements  of  those  whose  adventures  he  details,  an 
author-observant,  who  watched  their  acts  and  drew  his  conclusions  as 
to  the  motives  which  lay  back  of  them.  No  philosophizing  or  analysis 
of  a  psychological  nature  is  attempted.  The  narrator  is  simply  a  keen 
observer  who  draws  his  own  deductions  from  what  he  sees. 

In  "  Kanarienvogels  Liebe  und  Leid,"  on  the  other  hand,  the  point 
of  view  is  that  of  the  omniscient  third  person.  The  philosophy  of  life 
of  both  canary  bird  and  cat  are  set  forth  in  a  detailed  manner  impossible 
unless  the  relator  of  the  story  were  able  to  peer  beyond  external  ap- 
pearances. 

The  same  viewpoint  is  found  in  the  "Sadduzaer  von  Amsterdam," 
Uriel's  mental  make-up  is  minutely  dissected,  his  thoughts  and  feelings 
are  laid  bare  before  the  eye  of  the  reader.  The  same  is  true  though  to 
a  less  degree  of  the  characters  of  Judith  and  Ben  Jochai. 


44  KARL  GUTZKOW'S  SHORT  STORIES 

"Ser'aphine"  represents  a  combination  of  both  external  and  internal 
viewpoints.  The  novel,  considered  as  a  whole,  is  told  from  the  stand- 
point of  an  observer  outside  of  the  narrative,  by  one  who  speaks  from 
direct  observation  without  the  gift  of  omniscience.  Within  the  novel, 
however,  two  long  dialogue  divisions  that  are  in  effect  separate  parts 
structurally  and  a  third  division  in  the  form  of  the  heroine's  diary,  are 
illustrations  of  the  internal  viewpoint,  that  of  characters  within  the  story. 
The  change  of  viewpoints  attained  in  thus  shifting  the  narrative  from 
one  actor  to  another  aids  somewhat  in  presenting  the  characterization 
but  the  repetition  involved  in  the  retelling  proves  tedious  and  adds  to 
the  lack  of  artistic  form  which  this  novel  suffers  from. 

In  "Arabella"  the  omniscient  third  person  again  relates  the  incident 
and  shows  a  deep  knowledge  of  all  the  characters.  The  same  viewpoint 
is  consistently  maintained  and  the  effect  is  pleasing. 

The  "  Schauspieler  vom  Hamburger  Berge"  is  the  first  of  the  two 
examples  of  Gutzkow's  stories  which  exhibit  the  use  of  the  first  person 
throughout  the  whole  of  the  story.  The  second  instance  is  found  in  the 
"  Pfeffer-Matthes. "  The  two  cases  are  similar  in  that  in  each  the 
author  is  a  character  in  the  story  to  whom  a  second  actor  relates  that 
which  is  the  principal  part  of  the  story.  The  shifting  of  the  telling  of 
the  narrative  from  one  person  to  another  is  a  device  frequently  resorted 
to  by  Gutzkow. 

The  "Stelldichein"  reverts  to  the  standpoint  of  the  omniscient  third 
person  as  does  also  the  "  Wellenbraut. "  The  hterary  device  of  intro- 
ducing, letters  written  by  one  of  the  chief  characters  in  the  latter,  Theo- 
bald, to  a  friend  otherwise  not  mentioned,  results  in  a  change  of  view- 
points from  the  external  to  the  internal  on  two  occasions  and  provides  a 
means  for  revealing  Theobald's  mental  struggles  as  the  passion  for  Idaline 
grows  upon  him. 

The  "Konigin  der  Nacht"  opens  with  a  passage  from  the  diary  of  a 
subordinate  character.  After  this  use  of  the  internal  viewpoint  the 
remaining  part  is  told  by  the  omniscient  third  person.  The  logical 
turn  of  mind  of  the  heroine,  Jucunde,  is  developed  in  this  story. 

The  analysis  of  the  characters  within  the  "  Selbsttaufe "  could  not 
be  accomplished  without  the  aid  of  an  all-knowing  observer.  Combined 
with  this  external  viewpoint  Agathe's  letters  supply  an  internal  viewpoint. 
The  "  Phantasieliebe "  presents  no  new  features  but  consists  of  parts 
of  narrative  told  by  an  omniscient  third  person,  of  letters  written  by 
Madame  Milde,  a  character  who  otherwise  does  not  appear  in  the  story, 
and  a  composite  diary  and  novel  written  by  the  heroine. 


KARL  GUTZKOW'S  SHORT  STORIES  45 

In  addition  to  the  viewpoint  of  the  omniscient  third  person  assumed 
by  the  author  in  the  "EmporbHck,"  the  first  person  attitude  is  found 
in  the  introduction  of  two  stories  told  by  Scharfneck,  one  of  the  principal 
characters  of  the  novelle.  These  interpolated  stories  are  in  turn  pre- 
sented from  the  viewpoint  of  the  all-seeing  author,  thus  exhibiting  an 
unusual  complication  of  viewpoints.  The  change  from  one  to  the  other 
is  easily  made,  however,  and  no  confusion  results  from  it. 

The  "Kurstauben"  is  a  character  study  made  with  rare  psychological 
insight.  The  author  delves  deep  into  the  inner  life  of  his  creations  and 
shows  extraordinary  ability  in  his  portrayal  of  the  souls  of  his  characters. 
He  succeeds  in  doing  this  also  without  becoming  wearisome,  seeming 
to  divine  just  the  proper  place  to  desist  from  his  study.  The  omniscient 
viewpoint  could  alone  be  used  to  obtain  such  results. 

"Konig  Franz  in  Fontainebleau  "  is  a  return  to  the  author-observant, 
one,  however,  who  was  well  qualified  to  interpret  what  he  saw.  He 
does  not  employ  the  method  of  the  "Kurstauben"  and  the  "Sadduzaer 
von  Amsterdam"  but  is  more  closely  restricted  to  that  which  is  visible. 

The  "Nihilisten"  is  told  by  an  omniscient  being  who  understands 
the  philosophy  of  his  characters,  their  mode  of  thought,  and  the  mental 
reactions  with  which  they  respond  to  various  influences. 

"Jean  Jacques,"  primarily  a  study  of  one  man  in  his  relations  to 
those  about  him,  presents  a  combination  of  the  author's  viewpoint  as 
an  outside  observer  possessed  of  all  knowledge  with  that  of  Jean  Jacques, 
a  character  within  the  story,  who  is  humanly  limited  in  his  outlook. 
Structurally  it  is  the  internal  viewpoint  which  is  presented. 

The  "  Diakonissin  "  exhibits  both  viewpoints.  The  story  as  a  whole 
is  told  by  the  omniscient  third  person,  but  Constanze's  diary  presents 
an  internal  viewpoint  which  in  many  instances  impresses  us  as  being  an 
expression  of  Gutzkow's  personal  attitude. 

"Ein  Lebensloos"  and  "Aus  dem  Schwabenland "  present  the  view- 
points of  external  observers  who  record  what  they  see,  drawing  deductions 
from  these  acts,  but  not  delving  into  the  psychological  states  of  their 
characters. 

In  the  "Opfer"  the  narrative  is  for  the  most  part  told  by  an  author 
omniscient,  who,  however,  relates  events  from  the  angle  from  which 
the  heroine,  Gabriele,  views  them.  Some  letters  from  a  former  lover 
of  Gabriele  introduce  an  external  point  of  view. 


CHAPTER  VIII 
Motives 

The  chronological  method  which  was  pursued  in  presenting  the  sum- 
maries of  the  short  stories  will  be  adhered  to  also  in  the  following  study  of 
their  motives. 

The  "Prinz  von  Madagascar"  belongs  in  the  category  of  tales  of 
adventure.  The  events  which  it  relates  occur  in  widely  separated  parts 
of  the  world  and  involve  persons  of  greatly  dififering  civilizations.  This 
contrast  of  cultures,  the  European  and  the  barbarous,  is  itself  an  important 
motive.  It  is  really  composed  of  three  parts.  Paris  is  the  center  of 
refinement  and  French  culture.  St.  Mary's  is  an  island  outpost  of  the 
French  empire,  small  and  desolate,  but  nevertheless  presenting  in  minia- 
ture a  copy  of  European  conditions,  which  appears  very  m^uch  like  a 
caricature  of  the  original.  Madagascar,  the  third  portion  of  this  con- 
trast, is  a  vast  land,  crude  and  undeveloped,  possessing  enormous  natural 
resources,  but  inhabited  by  a  race  of  savages  who  still  delight  in  bloodshed 
and  practice  slavery. 

The  love  of  adventure  is  a  second  motive.  This  is  the  impulse  which 
brings  about  action  in  the  first  place.  Back  of  Hippolyt's  desire  to 
recover  his  throne  and  of  Polyglotte's  zeal  for  language  study  is  the  hope 
of  meeting  with  strange  and  unusual  adventures.  The  unknown  posses- 
ses a  strong  lure  for  all  three  of  the  party. 

The  motive  of  love  is  present  but  occupies  a  relatively  subordinate 
position.  The  affection  which  the  nameless  savage  woman  manifests 
toward  Hippolyt  is  that  of  a  devoted  nurse,  for  the  child  for  whom  she 
has  cared,  and  is  also  mixed  with  the  feeling  of  allegiance  which  a  subject 
has  for  his  prince.  It  is  a  passion  strong  enough  to  cause  her  to  sacrifice 
her  own  hfe  in  order  to  save  his. 

The  mutual  love  of  Hippolyt  and  Araxata  is  of  the  conventional 
type  which  authors  usually  attribute  to  the  hero  and  the  heroine  in  order 
to  satisfy  the  craving  of  a  certain  circle  of  readers  to  whom  no  tale  is 
complete  which  lacks  this  element. 

Gottfried  Keller's  "Berlocken"  in  "Das  Sinngediclil"  presents  a 
somewhat  similar  contrast  between  refined  Parisian  society  and  the 
Indian  tribes  of  North  America.  Heinrich  von  Kleist  also  uses  the 
motive  of  contrasting  races  in  "Die  Verlobung  auf  St.  Domingo. " 

"  Kanarienvogels  Liebe  und  Leid  "  is  an  animal  story  which  resembles 
the  fable  in  its  evident  satirical  representation  of  human  society.     The 


KARL  GUTZKOW'S  SHORT  STORIES  47 

pursuit  of  an  illusion,  a  rude  awakening  to  the  bitter  truth,  and  the 
treachery  of  a  seeming  friend  are  its  principal  motives.  The  moral  is 
drawn  that  unsuspecting  innocence  is  very  apt  to  be  the  victim  of  dis- 
illusionment. The  love  which  is  exhibited  is  wasted  upon  a  delusion 
and  the  trust  which  is  reposed  is  shamelessly  betrayed. 

The  ''Sadduzaer  von  Amsterdam"  touches  for  the  first  time  in 
Gutzkow's  shorter  stories  upon  motives  that  are  of  universal  interest. 
A  deep,  sincere  note  is  here  struck,  which  finds  a  ready  response  in  all 
hearts  that  have  realized  the  oppression  of  imposed  authority.  The 
strong  plea  which  the  struggles  and  the  fate  of  Uriel  contain  for  religious 
toleration  is  the  same  plea  which  the  author  himself  was  making  for 
toleration  in  his  controversies  with  the  Berlin  clergy.  Uriel  Acosta 
and  Gutzkow  are  the  same  person  from  one  point  of  view. 

A  closely  associated  motive  is  that  of  scepticism  in  rehgion.  The 
problem  of  doubt  constitutes  the  fundamental  theme.  What  relative 
values  are  to  be  placed  upon  the  results  of  reason  and  those  handed 
down  by  tradition  and  theological  systems?  This  question  is  one  Vv^hich 
Uriel  finds  himself  unable  to  evade  and  his  answer  to  it  brings  him  into 
conflict  with  the  leaders  of  his  church.  Orthodoxy  refuses  to  have  its 
tenets  questioned  and  aims  to  suppress  all  heresy. 

In  addition  to  this  intellectual  phase,  the  element  of  love  is  introduced 
so  that  feeling  plays  a  part  also.  The  two  cannot  be  considered  separate- 
ly in  the  case  of  either  Uriel  or  Judith.  Had  only  one  of  these  motives 
been  present  the  tragic  conclusion  could  have  been  avoided.  Thus  if 
the  intellect  had  been  accorded  full  sway  in  Uriel,  he  would  have  solved 
the  tumult  within  his  mind  by  dispensing  with  church  and  orthodoxy 
and  becoming  a  thorough-going  rationalist.  On  the  other  hand,  if  his 
love  for  Judith  had  been  dominant  and  unopposed  he  could  easily  have 
quieted  his  religious  doubts  in  which  case  the  whole  would  have  resolved 
itself  into  a  mere  love  story.  It  is  the  clashing  of  the  two  motives  in 
Uriel  and  the  quite  similar  struggle  which  Judith  undergoes  in  her  at- 
tempt to  comprehend  and  accept  her  lover's  beliefs  which  would  force 
her  to  break  away  from  her  childhood  faith,  that  render  the  situation 
natural  in  which  Uriel  vacillates  and  Judith  finally  withdraws  from  him. 

For  the  first  time  in  the  stories  under  consideration  the  element  of 
rivalry  in  love  is  met  in  the  opposition  of  Uriel  and  Ben  Jochai.  This 
is  cloaked  by  the  latter,  who,  under  the  guise  of  friendship,  pretends 
to  renounce  his  rights  in  favor  of  Uriel.  Only  toward  the  end  does  his 
treachery  become  apparent.  Then  the  motive  which  precipitates  the 
catastrophe  enters,  the  blind,  overpowering  passion  for  revenge  which 
seizes  Uriel  and  drives  him  to  attempt  the  life  of  Ben  Jochai. 


48  KARL  GUTZKOW'S  SHORT  STORIES 

The  "Sadduzaer  von  Amsterdam"  is  comparable  in  its  plea  for  re- 
ligious toleration  to  Lessing's  "Nathan  der  Weise. "  Twelve  years  after 
writing  the  short  story  Gutzkow  made  use  of  the  same  material  for  his 
famous  drama,  "Uriel  Acosta, "  which  is  his  best  tragedy. 

In  "Seraphine"  the  motive  of  scepticism  appears  again,  this  time 
in  the  treatment  of  the  theme  of  love.  Instead  of  suffering  as  Uriel  did 
from  religious  doubts,  Seraphine  is  tortured  by  her  inability  to  find  happi- 
ness in  gaining  a  love  which  is  satisfying  to  her.  She  is  a  tragic  heroine 
to  whom  fortune  beckons  often  but  never  fulfills  its  promises.  Arthur 
Stahl,  Edmund  von  Oppen,  Philipp  and  Minister  von  Magnus  are  suc- 
cessively drawn  to  her;  part  of  the  time  she  stands  undecided  between 
the  first  and  the  third  of  these  men,  part  of  the  time  between  the  second 
and  the  third.  A  stern  sense  of  morality  compels  her  to  discourage 
the  advances  of  the  fourth.  Her  character  is  not  sufficiently  strong 
to  enable  her  to  retain  either  of  her  first  two  suitors.  Philipp,  whom 
she  finally  marries,  proves  uncongenial  and  their  unhappy  marriage 
is  soon  terminated  by  Seraphine's  death. 

Frau  von  Magnus,  the  other  important  female  character  in  this 
novelette,  at  times  threatens  to  deprive  Seraphine  of  her  role  as  heroine 
and  to  assume  this  for  herself.  She  is  of  a  similar  type  to  Hertha  Win- 
golf  in  "Die  NihiUsten"  in  this  respect,  that  both  take  up  the  love 
which  others  have  renounced.  Vanity  is  the  predominating  motive 
for  her  actions.  Her  ambition  appears  to  be  only  to  attract  attention 
from  men  and  in  her  conduct  she  shows  little  sympathy  or  consideration 
for  her  husband.  Strangely  enough,  the  ones  who  are  drawn  to  her 
are,  with  the  exception  of  Philipp,  those  who  are  also  drawn  to  Seraphine. 

The  motive  of  jealousy  is  employed  twice.  Herr  von  ]\Iagnus  is 
irritated  by  his  wife's  neglect  of  him  and  the  favor  which  she  shows  to 
Arthur  Stahl  and  Edmund  von  Oppen.  He  realizes  keenly  the  humilia- 
ting position  in  which  he  as  a  husband  stands,  and  after  his  dismissal 
from  office  begins  an  active  campaign  to  recover  his  wife's  affections. 
His  motive  for  so  doing  is  jealousy.  The  other  instance  is  found  in  the 
rivalry  of  Arthur  and  Edmund  for  the  position  of  precedence  in  the 
good  graces  of  Frau  von  Magnus. 

Philipp  is  a  man  of  limited  intellect,  and  no  refinement.  He  acts 
largely  from  impulse  and  is  unable  to  overcome  the  effects  of  his  early 
defective  training.  His  brother  Ferdinand  is  a  sensitive,  gifted  person 
of  a  type  similar  to  E.  T.  A.  Hoffman,  a  romantic  figure  who  lacks  con- 
trol of  himself.  Music  and  drink  are  the  passions  of  his  life.  Revenge 
prompts  him  to  the  commission  of  his  most  significant  acts,  the  bewitching 


KARL  GUTZKOW'S  SHORT  STORIES  49 

as  it  were  of  the  church  organ  after  his  dismissal  as  organist  on  account 
of  drunkenness  and  his  betrayal  of  his  brother. 

The  political  world  contributes  motives  of  a  subordinate  nature. 
Thus  the  entrance  of  the  crafty  Jew  into  the  government  service  and  the 
dismissal  of  the  prime  minister,  Herr  von  Magnus,  from  his  position 
because  of  the  utterance  of  liberal  opinions,  are  such  motives. 

In  "Arabella"  the  heroine's  personal  vanity  is  coupled  with  her 
strong  desire  to  captivate  the  man  whom  she  loves.  She  lacks  the 
beauty  which  she  must  possess  if  she  is  to  win  him.  De  Negro,  a  myster- 
ious nobleman  whose  appearance  smacks  of  the  diabolical,  supplies  her 
with  a  cosmetic  which  has  the  power  of  rendering  the  user  most  attractive, 
but  in  return  for  this  Arabella  must  agree  to  marry  him.  Thus  she 
achieves  one  ambition  at  the  expense  of  another. 

This  motive,  the  sale  of  oneself  for  the  sake  of  material  gain,  recalls 
the  familiar  motive  of  the  Faust  legend,  Faust's  contract  with  the  devil. 
The  secret  cosmetic  with  its  magic  properties  is  a  variation  of  a  theme 
which  is  very  ancient  and  widespread.  The  use  of  charms,  potions, 
enchantments,  and  the  like  is  found  from  the  earhest  times.  An  illustra- 
tion of  the  use  of  this  motive  in  the  first  quarter  of  the  nineteenth  century 
occurs  in  E.  T.  A.  Hoffmann's  "  Elixiere  des  Teufels. " 

Another  motive  is  supplied  by  the  fact  that  the  charm  obtained  in 
this  way  is  illusory  and  is  secured  at  the  cost  of  the  destruction  of  the 
vital  forces  of  the  body.  Arabella  is  after  all  pursuing  only  a  delusion. 
Throughout  the  sketch  the  author's  satirical  purpose  is  evident  to  the 
reader. 

The  "  Schauspieler  vom  Hamburger  Berge  "  is  a  study  from  life.  The 
background  of  city  buildings,  crowded  streets,  busy  wharves,  and  teem- 
ing playgrounds  is  extremely  realistic.  The  fatal  lure  of  the  life  upon 
the  stage  is  exhibited  in  the  lives  of  two  people.  Their  infatuation  for 
this  profession  and  later  disappointment  and  disillusionment  is  the  cen- 
tral motive. 

In  "  Das  Stelldichein  "  the  love  of  adventure  leads  Count  Hugo  to  keep 
an  appointment  with  some  one  who  is  unknown  to  him.  To  his  surprise 
when  he  reaches  the  scene  of  the  rendezvous  he  finds  his  own  wife.  For- 
tunately for  the  husband,  her  surprise  is  as  great  as  his  own,  and  he  is 
able  to  present  an  explanation  of  the  incident  which  although  spurious 
nevertheless  satisfies  his  wife  and  allows  him  to  conceal  his  real  motive. 

The  same  theme  is  found  in  Otto  Ludwig's  "  Hausgesinde  "  and  Kot- 
zebue's  comedy,  "Der  Rehbock.  "^ 

'  Dr.  Richard  Miiller-  Ems.     Otto  Ludwig's  Erziihlungskunst,  p.  14-15. 


50  KARL  GUTZKOW'S  SHORT  STORIES 

The  "  Wellenbraut "  introduces  a  new  motive,  the  opposition  of  social 
classes.  This  antagonism  is  one  that  has  long  been  a  favorite  subject  for 
novelists  and  many  of  the  best  works  of  literature  use  it  as  their  funda- 
mental motive.  Thus  in  Goethe's  "Wilhelm  JMeister"  this  class  dis- 
tinction is  shown  between  nobility  and  bourgeoisie,  in  Immermann's 
"Epigonen"  the  conflict  is  between  agricultural  interests  and  modern 
industry,  and  in  Auerbach's  "  Dorfgeschichten  "  it  is  between  the  villagers 
and  the  peasants.  Novels  of  today  continue  the  use  of  the  same  motive 
in  depicting  the  struggle  between  the  proletariat  and  the  capitalist  class. 

The  conflict  in  ''Die  Vv ellenbraut "  is  still  between  the  nobility  and 
the  citizen  class,  represented  respectively  by  IdaUne  and  the  circle  in 
v.'hich  she  moves  and  by  Theobald.  Both  Idahne  and  Theobald  are 
fully  conscious  of  the  chasm  which  separates  them  socially,  and  this 
knowledge  in  itself  is  sufficient  to  prevent  any  attempts  to  form  an  inti- 
mate friendship  when  they  first  meet.  Later  it  succumbs  before  another 
force,  namely,  the  povv-er  of  love.  This  latter  motive  is  combined  with 
an  element  of  fate.  Neither  Idaline  nor  Theobald  is  able  to  deny  the 
impression  v/hich  their  chance  acquaintance  has  produced.  Class  dis- 
tinctions keep  them  separated;  nevertheless,  each  feels  that  the  other 
is  his  rightful  complement. 

The  fact  that  Idaline  is  engaged  to  be  married  renders  the  situation 
more  complicated.  Later,  as  the  Countess  Waldemar,  she  is  seemingly 
protected  by  the  conventions  of  society.  These,  however,  prove  of 
little  avail.  An  accident  to  Theobald  at  this  time  when  the  husband 
is  obliged  to  be  absent  from  his  wife  serves  to  bring  the  two  together 
again.  The  motive  of  the  "elective  affinities,"  which  is  the  theme  of 
Goethe's  "  Wahlverwandtschaf ten, "  operates  to  prevent  their  separa- 
tion. '  Both  attempt  to  free  themselves  but  they  are  unable  to  over- 
come the  power  of  fate.  The  ring  episode  which  occurs  at  the  beginning 
of  the  story  and  which  casts  a  sort  of  spell  over  the  whole  of  the  narra- 
tive, culminates  finally  in  the  suicide  of  Idaline,  who  thus  becomes  the 
"  Wellenbraut. " 

Political  life  furnishes  minor  motives.  Thus  Theobald,  who  has 
suffered  imprisonment  on  account  of  the  expression  of  liberal  principles, 
renounces  all  connection  with  the  government  when  he  realizes  that  it 
exists  for  itself  and  not  for  the  interests  of  the  people,  and  among  the 
nobility  themselves  are  to  be  seen  the  evidences  of  serious  differences 
between  the  conservative  and  the  moderate  liberals. 

Another  motive  which  is  of  frequent  occurrence  in  the  works  of  the 
"Young  German"  school  is  touched  upon  slightly,  the  right  of  self- 


KARL  GUTZKOW'S  SHORT  STORIES  51 

determination.  Idaline  before  her  marriage  questions  vaguely  the 
correctness  of  the  step  she  is  about  to  take,  but  yields  without  any 
serious  struggle  to  the  conventional. 

The  problem  which  is  presented  in  "Die  Konigin  der  Nacht"  centers 
around  a  wife's  effort  to  supplant  iier  rival,  a  former  mistress  of  her 
husband.  Thus  it  is  a  conflict  between  rightful  affection  and  illicit 
love.  Tact  and  determination  bring  victory  to  Jucunde.  An  air  of 
mystery  envelops  the  relationship  between  Prince  Max  and  Ladoiska. 
Certain  of  the  trappings  of  the  sensational  novel  such  as  hidden  stairways, 
concealed  doors,  and  muffled  figures,  are  used.  The  disappearance  of 
the  cactus  blossom  and  its  recovery  by  Jucunde  is  a  part  of  the  same 
atmosphere  of  mystery. 

In  "Die  Selbsttaufe"  the  right  of  free  self-determination  appears  as 
the  principal  motive.  Gottfried  Eberlin  expreses  his  belief  in  this 
doctrine  in  very  positive  form  v/hen  he  says.  "Jedermann  sollte  das 
Recht  haben,  sich  in  einem  gewissen  AJter  liber  seine  Steilung  zur  Ge- 
sellschaft,  iiber  seinen  Stand,  seine  Religion,  ja  selbst  iiber  seinen  Namen 
entscheiden  zu  dlirfen. "  He  acts  upon  this  conviction  to  the  extent  of 
changing  his  name  from  Gottfried  to  Ottfried.  Later  he  justifies  his 
desertion  of  Agathe  upon  the  same  grounds,  but  before  he  makes  his 
decision  a  fierce  struggle  has  to  be  waged  in  his  breast  between  ambition 
and  duty.  The  problem  which  is  raised  is  a  vital  one,  it  is,  how  far  does 
one's  duty  to  himself  and  to  others  extend?  Where  does  the  obligation 
which  one  owes  to  his  fellow  men  yield  to  that  vv'hich  he  owes  to  himself? 

Closely  associated  with  the  motive  of  self-determination  is  that  of 
love.  Again  Gutzkow  places  a  human  being  in  a  position  between  two 
others  toward  both  of  whom  he  is  drawn  by  powerful  forces.  Duty 
binds  him  to  Agathe  to  whom  he  has  plighted  his  troth.  Physical 
attraction  and  congenial  intellectual  qualities  pull  him  toward  Sidonie. 
The  younger  sister  possesses  no  external  beauty  and  scarcely  average 
mental  ability.  The  older  sister  presents  a  com.plete  antithesis.  Both 
love  the  same  man.  This  brings  about  the  introduction  of  another 
motive,  namely,  jealousy  between  the  sisters. 

Personal  vanity  and  a  disregard  of  the  feelings  of  others  prompts 
the  conduct  of  Wallmuth  and  Sidonie  so  often  that  this  form  of  selfishness 
may  be  considered  the  ruling  motive  of  their  lives,  particularly  does  it 
characterize  their  attitude  toward  Agathe.     The  contrast  between  the 


52  KARJ.  GUTZKOW'S  SHORT  STORIES 

complacency  and  selfishness  exhibited  by  the  father  and  the  elder  daugh- 
ter and  the  resignation  and  humility  of  Agathe  is  itself  an  important 
motive. 

Class  divisions  occur  as  in  "Die  Wellenbraut. "  Eberhn,  the  son 
of  a  village  pastor,  is  the  representative  of  the  lower  classes.  Wallmuth 
and  his  daughters  are  of  noble  rank  and  possessed  of  wealth  and  position. 
Here  as  in  Goethe's  "Wilhelm  Meister, "  education  and  individual  worth 
are  the  avenues  that  lead  from  the  lower  to  the  higher  social  level. 
Eberlin  becomes  eligible  for  admission  into  the  same  circle  with  Wall- 
muth and  Sidonie  as  soon  as  he  demonstrates  his  ability  to  conquer  for 
himself  an  honorable  place  in  society. 

The  problems  which  Gutzkow  treated  in  "Die  Selbsttaufe"  he  later 
dramatized  in  "Ottfried.'  The  novel  and  the  drama  are  based  upon 
his  own  experiences  at  the  time  when  he  was  wavering  between  his  duty 
toward  his  wife,  Amalie,  and  the  attraction  which  drew  him  strongly 
toward  Therese  von  Bacheracht.  In  his  own  life  Gutzkow  resigned  and 
remained  true  to  his  wife,  in  the  novel  the  hero  breaks  his  engagement 
and  chooses  the  one  who  appeals  most  to  him,  in  the  drama  he  deserts 
his  first  love  for  a  time  but  returns  later  and  endeavors  to  make  amends. 

In  "Eine  Phantasieliebe "  Gutzkow  enters  a  new  realm.  He  shows 
that  the  fairy  tale  is  not  without  interest  for  him.  The  dream  which 
Imagina  has  at  the  outset  of  the  story  introduces  an  atmosphere  which 
remains  throughout.  The  fantastic  elements  of  this  dream  are  blended 
with  the  realities  of  life  and  the  heroine  leads  an  existence  compounded 
of  both.  So  closely  united  are  the  two  that  Imagina  herself  scarcely 
realizes  which  is  real  and  which  is  only  fanciful.  All  that  happens  she 
interprets  in  the  light  of  this  dream  which  thus  exercises  an  influence 
on  her  life  very  similar  to  the  power  of  fate.  Otto  Sudburg,  the  myster- 
ious stranger  whose  path  so  often  crosses  her  own,  is  the  personification 
of  this  occult  magnetism.  He  is  regarded  by  Imagina  as  a  victim  of 
destiny. 

The  environment  in  which  Imagina  lived  as  a  child  is  a  motive  of 
first  importance  in  explaining  her  character.  She  lacked  a  mother's 
care,  spent  several  years  within  the  gloomy  walls  of  a  convent  under  the 
tutelage  of  nuns,  lived  withdrawn  from  all  active  association  with  the 
world,  and  became  very  imaginative  and  susceptible  to  strange  fancies. 
The  years  following  this  period  when  she  was  in  her  father's  home  were 
years  during  which  she  was  under  no  discipline  or  training  whatever; 
she  roamed  the  hills  and  fields  at  will,  indulged  her  childish  whims, 


KARL  GUTZKOW'S  SHORT  STORIES  53 

listened  to  the  wild  tales  of  the  superstitious  miners  and  believed  im- 
plicitly all  that  she  thus  heard.  From  this  early  environment  she 
received  a  definite  cast  of  mind  which  made  it  impossible  for  her  to 
accustom  herself  to  the  prose  of  an  uninspiring  social  life  which  pos- 
sessed absolutely  no  charm  for  her. 

The  motive  of  love  is  more  complicated  in  the  "  Phantasieliebe  "  than 
in  any  of  the  earlier  stories.  Imagina  is  opposed  by  Feodora  Zaluski  as  a 
rival  for  her  husband's  love  while  she  herself  remains  faithful  to  him  but 
cherishes  a  romantic  feeling  for  the  Prince  Wismuth  of  her  dream  who  is 
represented  in  real  life  by  Otto  Sudburg.  August  is  bound  to  Imagina 
by  the  tie  of  marriage  but  is  drawn  much  more  strongly  to  Feodora. 
Sudburg  again  is  pledged  to  provide  for  Feodora  but  finds  in  Imagina 
the  ideal  for  which  he  has  sought.  The  solution  is  found  in  Imagina's 
voluntary  resignation  of  her  husband  to  her  rival,  a  sacrifice  which  she 
makes  in  order  to  save  Sudburg  from  the  unhappy  life  which  he  is  certain 
to  lead  if  he  marries  Feodora. 

The  seven  deadly  sins  which  play  a  considerable  role  in  the  concluding 
portions  of  the  novelette  are  a  part  of  the  dream  motive  already  dis- 
cussed. The  effect  upon  Imagina  of  the  reading  of  the  novels  of  George 
Sand  is  a  subsidiary  motive.  The  emancipating  influence  of  the  literary 
works  of  this  French  writer  is  touched  upon  slightly.  The  combining 
of  the  real  and  the  fantastic  in  the  novel  which  Imagina  writes  is  a 
further  motive. 

The  "Emporblick"  is  a  study  of  life  in  the  large  city.  The  milieu 
presented  in  many-sided  and  includes  representative  situations  from  all 
the  social  strata  that  comprise  the  population  of  our  modern  metropolitan 
centers.  The  antagonism  of  interests  in  this  novelette  exists  between 
the  well-to-do  middle  class  and  the  poor  of  the  city.  The  nobihty  occupy 
no  special  classification  but  are  included  in  the  first  division.  This  makes 
the  ahgnment  of  opposing  forces  a  strictly  modern  one.  More  clearly 
than  in  any  earlier  story  the  bitterness  and  animosity  of  the  lower 
classes  toward  the  rich  and  the  contemptuous  disdain  of  the  latter  for 
the  former  is  expressed.  Sketches  of  the  life  to  be  found  in  the  salons 
of  fashionable  society  are  interspersed  with  similar  sketches  of  the  life 
led  by  the  poverty  stricken  and  the  criminal.  The  tendency  of  the  growth 
of  large  cities  to  widen  the  rift  between  the  rich  and  the  poor  is  brought 
out. 

Environment  is  a  force  to  be  reckoned  with  in  presenting  a  summary 
of  the  motives  in  the  "Emporbhck."  The  majority  of  the  characters 
are  what  they  are  because  of  the  conditions  in  which  they  have  been 


54  KARL  GUTZKOW  S  SHORT  STORIES 

reared.  There  are  two  distinct  sets  defined  by  their  surroundings,  as 
indicated  in  the  preceding  paragraph.  Scharfneck  is  the  best  example 
of  one  of  these  and  Ernestine's  brothers  are  typical  members  of  the  other. 
No  one  of  these  persons  possesses  the  ability  to  see  beyond  his  class  or 
to  sympathize  with  those  of  a  different  station  in  life  from  his  own. 
Ernst  Oswald  and  Ernestine  Waldmann  are  exceptions  in  that  they 
break  the  shackles  of  their  environment.  The  former  after  a  long  and 
vacillating  course  is  finally  able  to  accord  first  place  to  love  and  put  class 
prejudice  away  from  him.  The  latter  by  dint  of  severe  study  and  by 
diligent  improvement  of  her  opportunities  earns  for  herself  the  right 
to  be  considered  as  the  peer  of  those  formerly  her  superiors. 

Love  is  the  motive  which  is  introduced  to  offset  the  influence  of 
class  difference  and  of  environment.  The  struggle  through  which  Ernst 
passes  is  one  in  which  it  is  his  own  aristocratic  sentiments,  and  more 
particularly  those  of  his  friends,  which  he  has  to  overcome  and  not 
the  opposition  of  any  rival,  although  such  a  rival  does  exist  in  the  person 
of  Lude  Wachter.  Ernestine  is  obliged  also  to  disregard  the  opinions 
of  her  associates  who  look  scornfully  upon  her  efforts  to  rise  in  the  scale  of 
culture  and  refinement.  A  sincere  and  deep  affection  is  the  bond  which 
holds  firmly  to  the  end. 

The  relations  between  Scharfneck  and  Ernst's  sister  are  not  com- 
plicated by  any  conflict.  It  is  merely  a  marriage  between  two  persons 
of  similar  tastes  and  social  status,  a  happy  and  conventional  union. 

Parental  influence  appears  as  a  factor  of  the  opposition  which  Ernst 
encounters  in  his  love  for  Ernestine. 

Among  the  remaining  motives  of  the  "Emporblick"  the  following 
are  important:  the  impulse  to  truth  telling  which  characterizes  Lude 
Wachter  and  to  which  he  remains  faithful  until  his  death,  the  special 
inclination  of  Langheinrich,  the  detective,  to  ferret  out  crime  and  the 
necessity  under  which  he  feels  himself  to  pursue  his  researches  without 
regard  for  the  consequences,  the  mysterious  murder  of  Wachter  and  its 
solution,  and  overshadowing  these,  the  lesson  of  faith  in  the  power  of 
the  common  people  to  work  out  their  own  moral  and  spiritual  salvation, 
a  lesson  which  may  be  termed  the  principal  teaching  of  the  novelette. 

"Die  Kurstauben"  deals  with  a  situation  that  comes  up  in  family 
life.  Michael  Herz  is  confronted  with  the  problem  of  retaining  his 
wife's  affections  and  preventing  the  intrusion  of  a  former  lover  who 
threatens  to  become  a  serious  rival.  Leontine  possesses  a  marked  trait 
of  greed,  and  this  her  husband  makes  use  of  to  combat  her  infatuation 
for  Moritz  Sancho.     His  common  sense  methods  prove  successful  and 


KARL  GUTZKOW'S  SHORT  STORIES  55 

the  domestic  peace  is  restored.  The  problem  is  handled  with  rare  psy- 
chological finesse  and  the  climax  is  skilfully  executed. 

The  motive  of  intrigue  which  is  important  in  the  "Kurstauben" 
is  found  also  in  "Kiinig  Franz  in  Fontainebleau. "  Blanche  Naudst 
and  Firm.an  AUard,  having  observed  the  care  with  which  the  king's 
courtiers  minister  to  his  vanity,  attempt  to  secure  a  favor  from  their 
sovereign,  and  in  order  the  better  to  do  this  they  practise  deception 
upon  him.  The  fraud  is  accidentally  discovered  and  the  king's  vanity 
is  severely  wounded.  In  his  chagrin  he  is  about  to  give  way  to  anger 
and  punish  the  offenders,  but  just  at  that  instant  the  angelus  rings  and 
this  chance  occurrence  recalls  to  the  king  his  own  humble  position  in 
the  sight  of  God.  His  heart  is  softened  and  he  permits  kindness  to 
triumph  over  anger.  The  lovers  who  were  at  first  influenced  by  ambition 
and  desire  for  advancement  and  then  by  fear,  are  finally  filled  with  grati- 
tude. 

Beside  the  personal  motives  just  mentioned  and  the  intrigue  of  the 
lovers,  the  historical  coloring  and  the  contrasting  characterization 
which  are  found  in  this  sketch  possess  the  value  of  motives. 

In  "Die  Nihilisten"  as  in  "Die  Selbsttaufe"  the  right  of  free  self- 
determination  is  the  principal  motive  and  according  as  the  characters 
exercise  this  right  or  allow  other  motives  to  control  their  actions  they 
divide  into  two  classes.  Constantin  Ulrichs  and  Hertha  Wingolf  repre- 
sent the  two  attitudes.  At  first  both  believe  thoroughly  in  the  principle. 
Ulrichs  carries  its  application  to  the  furthest  limits  without  regard  for 
others  and  the  result  is  a  life  externally  brilliant  but  barren  of  any  bene- 
ficial effects,  either  for  himself  or  for  others.  Self-interest  becomes 
the  predominating  phase  of  his  character.  Hertha,  on  the  other  hand, 
begins  as  a  staunch  exponent  of  the  same  principle,  but  possesses  an 
element  of  feeling,  and  of  conscience,  which  Ulrichs  lacks.  The  con- 
viction seizes  her  that  there  are  obHgations  which  each  individual  owes 
as  well  as  rights  that  he  should  possess  and  acting  upon  this  conviction 
her  attitude  toward  the  world  about  her  is  changed  from  one  of  indiffer- 
ence to  one  of  active  sympathy  and  interest.  Eberhardt  Ott  is  another 
believer  in  the  doctrine  that  each  person  owes  certain  debts  to  society 
which  he  is  bound  to  discharge.  His  acts  are  determined  by  this  stan- 
dard and  hence  he  is  opposed  to  the  exercise  of  free  self-determination. 

The  revolution  of  1848  is  a  motive  of  nearly  equal  importance  to  the 
one  just  discussed.  Coming  with  such  unexpectedness  and  overwhelm- 
ing power  it  serves  to  bring  about  definite  decisions  that  line  up  in- 
dividuals clearly  on  one  side  or  the  other  of  the  burning  issues  which  it 


56  KARL  GUTZKOW'S  SHORT  STORIES 

raises.  For  a  time  everything  gives  way  before  the  strength  of  this 
uprising  and  the  force  of  pubUc  opinion.  Radicalism  triumphs  in  the 
field  of  politics.  Conservatives  and  moderate  liberals  joint  the  move- 
ment or  are  disregarded,  even  persecuted.  Then  with  equal  suddenness 
the  reaction  comes  and  the  former  illiberal  state  of  affairs  resumes  con- 
trol. The  principle  is  reaffirmed  that  all  progress  is  the  result  of  a  slow 
and  long  continued  application  of  forces  and  not  of  sudden,  violent 
cataclysms. 

The  motive  of  love  is  the  subject  of  serious  treatment.  Two  mar- 
riages are  based  on  considerations  of  wealth  and  social  standing  without 
deep  or  sincere  afifection  being  involved,  those  of  Ulrichs  and  Aurelia 
and  of  Hans  von  Landschiitz  and  Frieda.  A  third  has  an  element  of 
love  in  addition  to  the  advantages  mentioned  above,  that  of  Wingolf 
and  Eugenie.  Eberhardt  Ott  and  Agnes  Planer  have  a  sincere  respect 
for  each  other,  but  sympathy  for  Agnes  is  the  strongest  feeling  which 
draws  Ott  to  Agnes,  and  the  latter's  love  is  not  unmixed  with  cunning 
and  the  desire  to  secure  a  good  match.  Ulrichs  and  Hertha  are  held 
together  for  a  time  by  common  views  upon  current  questions  and  their 
belief  in  the  right  of  free  self-determination.  When  Hertha 's  convic- 
tions change  it  becomes  apparent  at  once  that  no  real  love  ever  existed 
between  the  two.  The  love  of  Ott  and  Hertha  is  the  one  example  of  a 
rich,  full  affection  which  has  its  basis  firmly  estabhshed  in  a  mutual 
concord  of  opinions  and  which  possesses  a  stabihty  and  a  strength  not 
at  all  dependent  upon  external  circumstances. 

As  minor  motives  the  following  should  be  mentioned:  the  political 
persecution  of  the  nihilists  and  the  surveillance  exercised  over  the 
university  circles  in  order  to  check  the  spread  of  liberal  views,  the  sym- 
boHc  significance  attached  by  Hertha  to  Constantin  Ulrichs'  ring  which 
he  had  used  as  an  engagement  ring  when  betrothed  to  Agnes  Planer,  the 
extremely  conservative  and  dogmatic  principles  of  Hans  von  Land- 
schiitz and  the  lighthearted  irresponsibility  of  Frieda. 

"Jean  Jacques"  is  a  study  in  environment.  It  is  the  author's 
answer  to  the  question  as  to  why  Rousseau  placed  his  children  in  a 
public  orphanage.  The  reason  for  this  action  is  found  in  a  detailed 
investigation  of  the  surroundings  in  which  Rousseau  was  situated. 
The  effect  which  these  had  upon  the  philosopher  furnishes  the  psycho- 
logical explanation  of  his  apparently  coldhearted  deed.  Rousseau's 
observations  have  led  him  to  beUeve  that  the  popular  idea  that  the 
world  is  becoming  better  and  that  the  progress  of  the  arts  and  sciences 


KARL  GUTKOZW'S  SHORT  STORIES  57 

is  contributing  to  this  betterment  of  society  is  false.  Conditions  in  the 
various  social  strata  with  which  he  comes  into  contact  appear  to  contra- 
dict this  theory.  He  comes  to  the  conclusion  that  the  state  owes  to  its 
subjects  the  duty  of  protecting  them  from  corrupting  influences.  Hence, 
in  order  to  save  his  children  from  degradation  and  a  life  of  misery  and 
crime  he  suppresses  his  parental  affection  and  permits  his  children  to 
become  public  charges. 

In  Gutzkow's  treatment  of  this  side  of  Rousseau's  life  he  awards  to 
him  the  merit  of  sincerity  in  action,  but  at  the  same  time  he  makes  it 
plain  that  the  latter  was  a  victim  of  his  own  sophistry.  The  events 
related  are  told  with  historical  accuracy.  Rousseau  is  shown  in  the 
milieu  of  actual  life,  struggHng  against  poverty  and  untoward  conditions. 

Two  circles  of  society  are  contrasted.  The  one  is  that  already 
described  whose  moral  depravity  is  so  keenly  felt  by  Jean  Jacques  and 
which  is  best  represented  by  Therese  Lavasseur  and  Michael  Labrousse. 
The  other  is  a  world  of  high  society  composed  of  patrons  of  learning  and 
people  of  wealth,  but  not  free  from  fads  and  foibles.  Of  this  Frau  von 
Epinzy  and  Baron  Grimm  are  members. 

"Der  Pfeff er-Matthes "  is  a  sketch  of  the  life  within  the  walls  of  an 
insane  asylum.  An  explanation  of  the  origin  of  the  mania  of  one  of  the 
inmates  is  given.  Fear  induced  by  the  sight  of  what  he  deems  to  be  a 
supernatural  appearance  has  changed  this  man  from  a  most  covetous 
person  to  one  extremely  generous,  so  much  so  that  he  is  mentally  unbal- 
anced.    His  condition  is  a  sort  of  poetic  vengeance  for  his  past  conduct. 

In  addition  to  this  motive  a  pleasing  picture  of  the  home  life  in  the 
family  of  the  attending  physician  is  given. 

''Die  Diakonissin"  is  a  return  to  the  active,  busily  engaged  world 
of  the  middle  classes  of  society.  The  background  of  this  story  is  com- 
posed of  various  elements.  Military,  commercial,  legal,  professional, 
and  religious  interests  are  closely  interwoven.  Psychological  and  exter- 
nal motives  combine  to  complicate  the  threads  of  the  action.  A  chain  of 
cause  and  effect  runs  throughout.  One  central  motive  dominates;  the 
effect  of  one  person's  act  upon  the  lives  of  others.  The  scriptural  words, 
"No  man  liveth  to  himself,  no  man  dieth  to  himself,"  express  the  fun- 
damental thought  of  the  novel.  The  act  of  Oberst  van  der  Busch  in 
taking  out  an  insurance  policy,  making  it  payable  to  his  betrothed  instead 
of  to  his  relatives,  and  later  committing  suicide,  brings  with  it  a  chain 
of  events  that  could  scarcely  have  been  foreseen.     The  complexity  and 


58  KARL  GUTZKOW'S  SHORT  STORIES 

interdependence  of  modern  society  is  sharply  exhibited.  One  family  is 
ruined  financially  by  this  act,  another  is  started  upon  the  highway  to 
fortune.  The  consequences  of  this  deed  committed  in  far-away  Java 
persist  for  a  lifetime  in  Europe. 

A  motive  somewhat  similar  to  that  of  the  contrast  of  civilizations 
presented  in  the  "Prinz  von  Madagascar"  is  the  contrast  here  given 
between  the  island  of  Java  and  conditions  in  Holland  and  Germany. 
The  satirical  purpose  present  in  the  "Prinz  von  Madagascar"  is,  how- 
ever, absent  from  "Die  Diakonissin. "  There  is  also  no  attempt  at 
caricaturing.  The  contrast  is  introduced  for  the  purpose  of  affording 
local  color  and  as  an  aid  in  strengthening  the  principal  motive  by  showing 
the  relative  dependence  of  all  parts  of  the  earth. 

A  further  external  motive  is  the  contrast  between  the  life  within 
the  deaconess  hospital  and  that  without. 

There  are  a  large  number  of  psychological  motives  in  addition  to  the 
external  ones  just  given.  Strong  personal  feehngs  impel  the  characters 
to  the  performance  of  certain  acts.  Thus  Hartlaub  and  Freydank  are 
actuated  by  a  desire  to  remedy  a  wrong  unintentionally  done  to  Con- 
stanze.  Wolmar  is  the  prey  of  a  conflict  between  the  emotion  of  love  for 
Constanze  and  a  sense  of  shame  for  a  previous  unworthy  decision  that 
he  has  made  which  now  prevents  his  free  action.  Constanze  is  painfully 
distracted  by  an  inward  struggle  in  which  her  love  for  Wolmar  and  her 
hope  of  a  happy  culmination  of  her  wishes  are  opposed  by  a  feeling  of 
despair  at  his  inaction  and  her  own  reluctant  decision  to  become  a 
deaconess  nurse. 

The  conflicts  which  arise  in  connection  with  the  motive  of  love  in 
"Die  Diakonissin"  are  conflicts  which  occur  between  opposing  emotions 
within  the  individuals  and  differ  from  those  in  "Die  Wellenbraut, " 
"Die  Selbsttaufe, "  and  "Die  Phantasieliebe "  in  not  being  contests 
between  rival  suitors  for  the  love  of  a  third  person. 

Strictly  speaking  the  motive  of  class  differences  plays  no  role  in 
"Die  Diakonissin"  although  Wolmar's  relations  to  the  wealthy  middle 
classes  during  the  years  when  he  is  attempting  to  secure  a  practise  for 
himself  approaches  this. 

At  the  conclusion  of  the  novel  the  motive  of  temporary  insanity  with 
its  attendant  cure  furnishes  a  solution  for  the  complicated  relationships 
of  Wolmar  and  Constanze,  at  the  same  time  that  it  provides  a  help-meet 
for  Hartlaub  in  the  person  of  Juliane.  The  pathological  motive  is  treated 
skillfully  and  naturally. 


KARL  GUTZKOW'S  SHORT  STORIES  59 

In  "Ein  Lebensloos"  there  is  a  return  to  the  motive  which  Gutzkow 
employed  in  an  earUer  sketch,  "  Schauspieler  vom  Hamburger  Berge." 
This  is  the  unfortunate  fate  of  the  one  who  is  unable  to  adapt  himself 
to  circumstances.  Because  of  this  trait  of  character  Franz  Griiner 
suffers  a  succession  of  reverses  in  fortune.  The  lure  of  the  stage  with 
its  magic  power  of  deluding  its  victims  is  clearly  brought  out. 

That  failure  in  the  performance  of  duty  is  certain  to  bring  punish- 
ment is  the  motive  upon  which  the  sketch  "Aus  dem  Schwabenland " 
rests.  Both  Speidle  and  the  Holzenbauer  feel  the  scourge  of  an  avenging 
Nemesis.  The  former  lapses  from  the  path  of  duty  temporarily  and  by 
yielding  to  a  sudden  impulse.  For  this  reason  he  is  later  able  to  redeem 
his  fault.  The  Holzenbauer,  however,  acts  from  motives  that  are 
inherent  in  his  character,  and  hence  is  unable  to  retrieve  himself. 

The  motive  around  which  "Das  Opfer"  is  constructed  does  not 
differ  greatly  from  that  of  "Aus  dem  Schwabenland."  Briefly  stated 
it  is  that  sin  brings  punishment  and  that  this  punishment  can  be  avoided 
only  by  means  of  sacrifice.  This  general  motive  is  associated  with 
the  theme  of  love.  In  this  case,  as  so  often  occurs  in  Gutzkow's  stories, 
one  person  stands  between  two  rival  loves.  On  the  one  side  of  Gabriele 
is  her  affection  and  her  duty  to  her  husband,  on  the  other  side  the  memory 
of  her  love  for  Hugo  Ellrich  persists  and  comes  between  her  and  her 
husband.  Elsbeth's  sickness  appears  to  the  mother  to  be  a  judgment 
from  God  upon  her  for  her  secret  disloyalty.  Hence  her  vow  to  sacrifice 
her  most  precious  possession,  her  love  letters  from  Hugo,  if  thereby  her 
daughter's  life  may  be  spared  and  she  herself  may  recover  her  sense  of 
innocence. 

"Das  Johannesf euer "  deals  with  the  experiences  of  a  young  couple 
who  are  deeply  in  love.  CompHcations  result  from  the  fact  that  Heinrich 
Rother  as  state's  attorney  is  obliged  to  bring  suit  against  Ottilie  Walch. 
A  struggle  between  his  affection  for  Ottilie  and  his  duty  as  a  servant 
of  the  government  goes  on  within  him,  a  struggle  which  threatens  to  end 
disastrously  for  the  mutual  happiness  of  the  two.  Ottilie  acts  at  first 
purely  from  the  motive  of  love.  With  this  feeling  she  unites  a  willingness 
to  sacrifice.  Rother's  secret  authorship  adds  a  touch  of  the  mysterious, 
a  quality  which  is  rarely  found  in  these  stories.  Chance  enters  as  motive 
in  Ottilie's  discovery  of  this  secret  and  furnishes  her  with  a  weapon  for 
attaining  a  revenge  both  artistic  and  decisive.  The  narrative  as  a  whole 
is  the  account  of  a  man's  struggle  between  true  love  and  a  false  idea  of 


60  KARL  GUTZKOW'S  SHORT  STORIES 

honor  and  a  woman's  ability  to  take  advantage  of  an  accident  to  accom- 
plish her  desire. 

The  mutual  love  of  Placida  and  Sigmund  is  the  principal  motive 
in  "Der  Werwolf."  A  motive  closely  associated  with  this  is  that  of 
misunderstanding.  This  second  motive  is  the  result  of  Wenzel  von 
Fircks'  desire  for  revenge  upon  Placida,  and  also  of  a  mistaken  inter- 
pretation of  a  scene  witnessed  by  father  and  daughter.  The  superstitious 
belief  in  werwolves  current  at  this  time,  and  the  historical  coloring  which 
invests  the  story,  are  further  motives. 


The  foregoing  analysis  reveals  a  wide  range  of  motives.  The  three 
domains  from  which,  according  to  Goethe,^  motives  may  be  taken,  the 
external  or  physical  world,  the  internal  or  moral  world,  and  the  third, 
a  world  of  fantasy,  presentiment,  visions,  chance  and  fate,  are  all  laid 
under  tribute.  The  moral  world  suppUes  the  largest  number  of  motives, 
the  external  world  the  next  largest,  and  the  third  world  is  entered  least 
often. 

Taking  up  first  the  motives  which  occur  most  frequently,  those  of 
the  inner  world,  love  is  the  one  which  is  more  often  used  than  any  other. 
The  elem-ent  of  attraction  between  the  sexes  is  found  in  nineteen  of  the 
twenty-three  stories,  the  four  exceptions  being  the  "  Schauspieler  vom 
Ham.burger  Berge,"  "Der  Pfeffer-Matthes, "  "Ein  Lebensloos, "  and 
"Aus  dem  Schwabenland. "  The  importance  which  is  assigned  to  this 
motive  ranges  from  its  use  as  a  subordinate  motive  to  its  employment  as 
the  principal  and  all  absorbing  issue.  Frequently  also  it  is  one  of  several 
conflicting  elements  of  approximately  equal  significance. 

Its  use  as  a  minor  motive  handled  in  a  purely  conventional  manner 
is  illustrated  in  the  "Prinz  von  Madagascar";  as  a  motive  of  primary 
importance  it  occurs  in  "Seraphine,"  "Die  Wellenbraut, "  "Die  Konigin 
der  Nacht, "  "Die  Selbsttaufe, "  "Fine  Phantasieliebe, "  "Der  Empor- 
blick,"  "Die  Diakonissin, "  "Das  Johannesfeuer, "  and  "Der  Werwolf"; 
as  one  of  several  conflicting  forces  it  is  found  in  many  instances,  as  in 
"Der  EmporbHck"  and  "Die  Wellenbraut"  where  it  clashes  with  class 
consciousness,  in  "Das  Johannesfeuer"  where  duty  appears  to  oppose  it, 
and  in  "Die  Diakonissin"  where  shame  for  a  time  prevents  love  from 
expressing  itself. 

*  Briefwechsel  zwischen  Schiller  und  Goethe,  Vol.  I,  p.  347. 


KARL  GUTZKOW'S  SHORT  STORIES  61 

The  placing  of  a  woman  between  two  men  who  are  rivals  for  her 
affections  or  of  a  man  in  a  similar  situation  between  two  women  is  a 
favorite  variation  of  this  motive  with  Gutzkow.  Sometimes  as  in 
"Die  Selbsttaufe"  all  are  unmarried,  again  as  in  "Die  Wellenbraut, " 
"  Die  Konigin  der  Nacht "  and  "  Die  Kurstauben  "  one  of  them  is  not  and 
the  intervention  of  the  conventions  of  society  contributes  toward  com- 
plicating the  matter  still  more. 

A  number  of  other  deeply  rooted  human  passions  serve  as  motives. 
Thus  the  desire  of  Uriel  for  revenge  is  the  feeling  which  causes  the  tragic 
conclusion  of  the  "Sadduzaer  von  Amsterdam."  The  same  motive 
impels  Ferdinand  to  betray  his  brother  and  to  attempt  the  destruction 
of  the  church  organ  in  "Seraphine."  Personal  vanity  appears  in  four 
instances  as  a  prominent  motive,  in  "Seraphine"  in  "Arabella,"  in  "Die 
Selbsttaufe,"  and  in  "Konig  Franz  in  Fontainebleau. "  The  desire  for 
exact  justice  and  the  impulse  to  truth  telling  are  the  motives  which 
actuate  Langheinrich  and  Lude  Wachter  in  "Der  Emporblick. "  Jeal- 
ousy leads  to  a  duel  in  "Seraphine"  and  to  a  quarrel  between  sisters  in 
"Die  Selbsttaufe."  Greed  plays  a  role  of  importance  in  "Die  Kur- 
stauben," sacrifice  underlies  the  whole  story  of  "Das  Opfer, "  a  man's 
sense  of  honor  and  his  devotion  to  duty  are  cardinal  motives  in  "Das 
Johannesfeuer, "  and  envy  lies  at  the  bottom  of  that  which  causes  the 
misunderstanding  in  "Der  Werwolf."  In  the  " Stelldichein "  and  in 
the  "Prinz  von  Madagascar"  the  love  of  adventure  is  a  strong  motive. 

In  "Die  Wellenbraut,"  "Die  Selbsttaufe,"  and  "Die  Nihilisten"  the 
problem  of  self-determination  is  taken  up.  Scepticism  is  the  theme  dis- 
cussed in  "Seraphine"  and  the  "Sadduzaer  von  Amsterdam." 

Motives  are  also  freely  taken  from  the  external  world.  Thus  the 
environment  is  employed  as  a  motive  in  the  "Prinz  von  Madagascar," 
in  "Fine  Phantasieliebe, "  "Der  Emporblick,"  "Die  Nihilisten,"  "Jean 
Jacques,"  and  "Die  Diakonissin. " 

The  class  struggle  as  exemplified  in  the  opposition  of  the  nobility 
and  the  common  citizen,  in  the  mutual  antagonism  of  rich  and  poor, 
and  in  the  petty  jealousies  of  peasant  and  villager,  plays  a  part  also  as 
a  motive.  These  differences  appear  most  clearly  in  "  Die  Wellenbraut, " 
"Die  Selbsttaufe,"  "Der  Emporblick,"  "Die  Kurstauben"  and  "Aus 
dem  Schwabenland. " 

"Seraphine,"  "Die  Wellenbraut,"  and  "Die  Nihilisten"  contain 
motives  taken  from  the  domain  of  politics  and  government. 

The  third  world  of  which  Goethe  speaks  is  entered  several  times. 
Chance  or  accident  is  a  determining  force  in  "Das  Stelldichein,"  "Die 


62  KARL  GUTZKOW'S  SHORT  STORIES 

Wellenbraut, "  and  in  "Konig  Franz  in  Fontainebleau. "  Fate  is  equally 
important  in  "Fine  Phantasieliebe. "  The  supernatural  is  an  element 
in  "Arabella."  The  dream  is  a  motive  in  the  "Sadduzaer  von  Amster- 
dam" and  "Fine  PhantasieUebe. "  The  pursuit  of  vain  ambitions  and 
the  disillusionment  which  follows  is  treated  in  "  Kanarienvogels  Liebe 
und  Leid,"  "Arabella,"  " Schauspieler  vom  Hamburger  Berge, "  and 
"Ein  Lebensloos. " 

Insanity   occurs  as   a   motve   in    two   instances,    in    "Der   Pfeffer- 
Matthes"  and  in  "Die  Diakonissin. " 


CHAPTER  IX 

Subjectivity 

The  attitude  of  an  author  toward  his  productions  possesses  two  possi- 
biUties.  He  may  assume  a  personal  interest  in  the  story  which  he  is 
relating,  comment  upon  the  characters  and  the  action,  intersperse  re- 
flections of  his  own  upon  various  topics,  address  his  readers  directly, 
satirize  persons  or  conditions  either  within  or  without  his  productions, 
or  in  other  ways  incorporate  his  own  personahty  into  his  work.  Or  he 
may  carefully  suppress  all  tendencies  to  allow  his  individuality  as  the 
author  to  become  apparent  and  relate  his  tale  in  a  purely  disinterested 
and  impersonal  manner.  According  as  he  permits  his  own  feelings  and 
viewpoint  as  the  author  apart  from  his  characters  to  enter  and  claim 
the  reader's  attention,  or  as  he  refuses  to  do  this,  his  manner  or  tone  of 
narrative  is  subjective  or  objective.  Jean  Paul  was  extremely  subjective 
and  introduced  digressions  and  interruptions  of  a  great  variety  of  kinds 
into  his  works.  Goethe  was  much  less  subjective  and  remained  generally 
behind  the  figures  of  his  characters.  Tieck  and  Hoffmann  were  also 
comparatively  objective,  and  Kleist  was  more  objective  than  any  of 
the  preceding  writers. 

Gutzkow's  attitude  in  this  matter  of  subjectivity  varies  in  the  short 
stories  which  are  under  consideration  within  a  considerable  range.  In 
the  "Prinz  von  Madagascar"  he  enhsts  himself  actively  in  the  advocacy 
of  his  hero  whom  he  speaks  of  as  "unser  Held,"  and  upon  several  occa- 
sions he  addresses  his  readers  directly  in  soliciting  their  interest  for 
Hippolyt  and  his  companions. The  use  of  both  the  first  person  singular 
and  the  first  person  plural  to  designate  the  author  is  to  be  found.  The 
plural  form  sometimes  refers  to  the  author  only,  in  other  instances  it 
includes  the  author  and  the  reader.  Expressions  such  as,  "we  will 
omit  a  detailed  account  of  such  and  such"  occur.  Brief  comment  upon 
situations  within  the  story  are  inserted  on  a  few  occasions  and  a  reflection 
or  generalization  of  the  author  is  sometimes  given  followed  by  an  illus- 
tration of  the  truth  of  the  statement.  After  describing  a  rather  melo- 
dramatic scene,  the  satirical  observation  is  appended:  "Grosser  Gott 
das  nennen  wir  schon!  Wenn  Eugene  Sue  so  etwas  beschreibt,  so  les' 
ich's  gern;  aber  erfahren  mag  ich's  nicht. "  Underneath  the  entire 
story  the  satirical  tendency  lurks,  the  desire  to  criticise  the  regime  of 
Metternich  which  prevented  freedom  of  expression  to  young  authors 
just  as  in  the  "Prinz  von  Madagascar"  the  hero  was  prevented  from 


64  KARL  GUTZKOW'S  SHORT  STORIES 

coming  into  his  own  rights.  This  purpose,  however,  as  Proells  has 
pointed  out,  was  probably  too  well  concealed  to  become  apparent  to 
many  readers  at  the  time  that  the  story  appeared. 

In  "  Kanarienvogels  Liebe  und  Leid  "  the  use  of  the  first  person  plural 
to  designate  the  author  and  the  use  of  the  possessives  "mein"  and 
"unser"  in  connection  with  the  chief  character,  is  continued.  An 
exclamation  addressed  directly  to  the  canary  and  an  appeal  to  the 
reader  for  confirmation  of  the  correctness  of  one  of  the  author's  assump- 
tions are  further  examples  of  a  subjective  strain. 

The  "Sadduzaer  von  Amsterdam"  also  makes  use  of  the  pronoun 
"wir"  on  numerous  occasions.  The  author's  interest  in  his  hero  is 
very  strongly  expressed.  He  defends  the  vacillations  of  Uriel,  uses 
argument  to  explain  why  these  occur,  and  frankly  requests  the  reader 
neither  to  misunderstand  the  hero  nor  to  withdraw  his  sympathy  from 
him.  The  story  opens  with  a  long  apostrophe  to  the  Jews  setting  forth 
their  fortunate  condition  in  Holland  as  compared  with  that  of  their 
compatriots  in  lands  where  persecution  of  the  Jews  was  still  prevalent. 
Another  departure  from  a  straightforward  narration  is  a  paragraph 
devoted  to  a  sort  of  rhapsody  upon  the  beauties  of  the  spot  which  he, 
the  author,  would  choose  as  a  trysting  place.  In  describing  this  he 
uses  the  pronoun  of  the  first  person  singular.  These  passages  of  a  sub- 
jective nature  harmonize  well  with  the  mood  of  the  story  and  do  not 
constitute  disturbing  features. 

"Seraphine"  contains  examples  of  the  author's  reflections  upon  his 
own  characters.  Thus  he  comments  upon  Madame  Lardy:  "Man 
sieht,  Madame  Lardy  hatte  doch  Maximen,  die  beinahe  an  die  Ideen 
Rousseaus  streiften."  Again,  of  Seraphine,  he  observes:  "So  ist  es 
mit  den  Weltseelen.  Sie  vermogen  vom  Schicksal  nichts  zu  ertragen. ' 
The  ideas  contained  in  a  number  of  the  speeches  of  the  characters  are 
"Young  German"  in  their  "Tendenz"  and  contain  some  of  Gutzkow's 
own  views  upon  life.  The  concluding  paragraph  of  this  novel  is  the 
climax  of  the  author's  subjectivity,  however.  Here  he  falls  into  a 
soliloquy  in  which  he  mourns  the  fate  of  the  heroine,  deplores  the  mis- 
fortunes which  befell  her,  and  declares  the  incidents  and  characters 
belong  not  only  to  fiction  but  also  to  reality.  Omitting  this  portion 
and  considering  the  speeches  of  the  characters  to  be  their  owti  rather 
than  Gutzkow's  thoughts,  "Seraphine"  is  possessed  of  few  traces  of 
subjectivity,  although  the  whole  novel  was  the  poetic  presentation  of 
the  author's  youthful  love  for  a  young  woman  of  BerHn  named  Leo- 
poldine  Spohn, 


KARL  GUTZKOW'S  SHORT  STORIES  65 

"Arabella"  is  one  of  a  number  of  Gutzkow's  stories  that  may  be 
classified  together  as  being  objective  and  containing  no  evidence  of  any 
intrusion  of  the  personahty  of  the  author.  Any  observations,  reflections, 
or  other  interruptions  such  as  have  been  classed  under  subjectivity  of 
the  author,  if  they  occur,  are  placed  in  the  mouths  of  the  characters, 
and  hence  are  no  longer  personal  messages  of  the  author.  The  remain- 
ing members  of  this  group  are  the  "Stelldichein,"  "  Kurstauben, " 
"Konig  Franz  in  Fontainebleau,"  "  Pfeffer-Matthes  "  "Ein  Lebensloos," 
"Opfer, "  and  "  Johannesfeuer. " 

The  device  of  having  the  ''Schauspieler  vom  Hamburger  Berge" 
told  entirely  by  a  character  within  the  sketch  prevents  any  expression 
of  a  personal  tone  on  the  part  of  the  author.  The  person  depicted  as 
doing  the  relating  does,  however,  make  observations  upon  art  and  ap- 
pends a  moral  at  the  close  of  his  story.  These  are  in  both  instances 
similar  to  an  author's  asides  to  the  reader. 

"The  "Wellenbraut,"  " Selbsttaufe "  and  " Phantasieliebe "  contain 
very  few  traces  of  subjectivity.  The  first  refers  to  the  characters  as 
"unser,"  and  uses  "wir"  to  include  both  the  author  and  the  reader  as 
is  so  frequently  the  case  in  Gutzkow's  stories.  In  the  second  the  author 
betrays  his  sympathy  for  Agathe  by  his  exclamation,  "Arme  Agathe." 
The  "Phantasieliebe"  contains  a  very  few  generalizations.  It  must  be 
remarked,  however,  that  the  author  presents  the  principal  female  charac- 
ter in  all  three  of  these  stories  in  such  a  way  that  the  reader's  sympathy 
is  strongly  aroused  in  each  instance  in  their  favor  and  his  own  interest 
in  them  is  very  apparent. 

The  "Emporblick"  begins  with  a  lyrical  prose  passage  dwelling  upon 
the  delights  of  a  Sunday  morning  in  the  large  city  and  then  depicts 
the  loneliness  of  Sunday  afternoons  in  the  same  environment  for  those 
without  friends  or  acquaintances.  The  form  is  that  of  the  apostrophe. 
The  conclusion  of  the  novelle  is  a  direct  presentation  to  the  reader  of 
the  purpose  underlying  the  story,  the  expression  of  the  hope  that  the  rift 
between  the  various  classes  of  society  can  in  some  way  be  bridged  over. 

The  "Nihilisten"  contains  examples  of  the  use  of  such  phrases  as: 
"wir  greifen  den  Faden  unserer  Erzahlung  wieder  auf, "  "wir  miissen 
auf  die  zuriickkommen, "  and  "wir  entnehmen  aus  den  stenographischen 
Aufzeichnungen  nur  drei  Stellen."  Questions  and  explanations  are 
addressed  directly  to  the  reader  near  the  opening  of  the  story.  He  uses  the 
word  "Leserinnen. "  A  long  reflective  passage  upon  the  relation  existing 
between  father  and  daughter  extends  over  a  page.  A  description  of 
the  torture  and  the  pleasure  of  an  unconfessed  love  occupies  nearly 


66  KARL  GUTZKOW'S  SHORT  STORIES 

as  much  space.  The  generaUzation  followed  by  the  specific  illustration 
occurs  several  times.  The  use  of  "man"  in  the  sense  of  the  reader  is 
found  in  the  expressions:  "man  kann  sich  denken"  und  "man  wird 
kennen. " 

In  "Jean  Jacques"  the  author's  interest  in  his  characters  manifests 
itself  almost  immediately  by  his  use  of  the  term  "unser  FluchtUng. " 
Twice  he  apostrophizes  his  hero,  "Armer  Jean  Jacques,"  and  comments 
upon  him  and  his  situation.  Twice  also  he  unites  his  viewpoints  with 
that  of  his  reader  and  pursues  a  line  of  reasoning  with  him. 

The  "  Diakonissin "  contains  repeated  instances  of  the  use  of  "wir" 
and  "unser."  Generalizations  occur  also.  Thus,  "es  ist  eine  gewohn- 
liche  Erfahrung,  dass  Menschen,  etc."  "Eine  Witwe  zu  sein  und  dabei 
jung,  reich  und  schon,  ist  wohl  der  angenehmste  Lebensstand,  falls 
der  Verlust,  den  man  zu  betrauern  hat,  kein  zu  schmerzlicher  gewesen, " 
and  "In  edlen  Naturen  lebt  ein  Heroismus,  der  da  Opfer  bringen  kann 
liber  Opfer,  ohne  die  Mitwissenschaft  irgend  eines  Zeugen, "  are  illus- 
trations of  this.. 

The  reader  is  addressed  as  "Lieber  Leser"  in  "Aus  dem  Schwaben- 
land,"  he  is  also  spoken  of  as  "Dir,"  and  the  author  uses  the  pronoun 
"ich"  upon  one  occasion  when  referring  to  himself. 

In  the  "Werwolf"  the  use  of  the  first  person  both  singular  and 
plural  is  found.  Thus  the  author  states,  "Urkundlich  habe  ich  heraus- 
gefunden,"  and  also  "Wer  etwa  eine  Geschichte  der  Hoflieferanten '  zu 
schreiben  und  bei  einem  gesinnungsvoUen,  nach  Orden  liisternen  Buch- 
handler  herauszugeben  gedenkt,  dem  bin  ich  bereit,  aus  meinen  Studien 
acht  Grosshandler  und  sechsundzwanzig  'gemeine  Kramer'  namentlich 
anzufiihren,  die  damals  dem  kayserlichen  Hofe  stattigs  nachzuraisen 
'pflegten.'  "  The  use  of  generalizations  is  found  in  the  "Werwolf," 
e.g.,  "es  giebt  Menschen,  liber  die  wir  uns  nie  klar  werden  konnen," 
"Allzeit  angstlich  sind  die  Gewissen,  die  in  den  Umstrickungen  der 
kirchlichen  Gnaden-  und  Heilsmittellehre  leben,  etc.,"  and  "Mitten  in 
den  rauschenden  Strudeln  des  Lebens,  giebt  es  noch  zuweilen  Begeg- 
nungen,  die,  etc."  A  parenthetical  expression,  an  aside  to  the  reader, 
is  given  where  the  author  after  mentioning  Sigmund's  cleverness,  states, 
"die  Klugheit  floss  aus  seinem  Herzen — das  Herz  ist  immer  kliiger  als 
der  Verstand." 

The  preceding  pages  indicate  that  Gutzkow  did  not  intrude  his  per- 
sonality as  the  author  to  any  considerable  degree  upon  the  reader.  A 
number  of  his  stories  are  entirely  objective.     In  others  he  contributes 


KARL  GUTZKOW'S  SHORT  STORIES  67 

occasional  comments  and  displays  a  bias  with  regard  to  characters  or 
themes.  Usually  his  attitude  toward  his  puppet  creations  is  clear.  At 
times  he  pauses  to  draw  a  moral  or  to  drive  home  some  lesson  but  gen- 
erally he  accomplishes  any  such  purpose  in  more  artistic  ways. 


CHAPTER  X 

Means  of  Characterization 

1.  External  Characterization 

The  amount  of  description  which  is  devoted  to  the  external  appear- 
ance of  the  characters  in  the  "Prinz  von  Madagascar"  is  small.  The 
longest  of  these  sketches  consist  of  only  a  few  sentences  and  the  charac- 
terizations are  generally  of  the  nature  of  caricatures.  Thus  "so  weit 
man  von  dem  Prospect  seines  Riickens  auf  seine  Figur  schhessen  darf, 
ist  Herr  Culotte  ein  Mann  von  ausserordenthchem  Umfange,  und  wie 
der  knackende  Tisch  verrat,  von  eben  so  grossem  Gewichte."  Again 
"der  Marquis  le  Poivre  war  eine  lange,  hagere  Gestalt,  mit  trockenen 
Mienen  und  abgemessenen  Bewegungen."  "Professor  Polyglotte  war 
ein  diinnes,  schmachtiges  Mannlein  mit  einem  grossen  Kopfe,  der  nach 
hinten  die  Gestalt  eines  eckigen  Wiirfels  zeigte.  Die  schwachen  kleinen 
Beine,  die  hektische  geformte  Brust,  die  unruhige  Bewegung  des  Unter- 
kiefers  und  der  Augen,  die  diirftige,  aber  doch  reinliche  und  sorgfaltig 
gelegte  Kleidung  und  Wasche  verrieten  den  armen  Gelehrten,  der  nur 
davon  zu  leben  wusste,  dass  er  sich  noch  immer  manierhch  hielt,  um  die 
Leute,  denen  er  seine  Dienste  bot,  durch  sein  Ausseres  nicht  zuriick- 
zuschrecken. "  Colas  is  described  as  "ein  alter,  aber  noch  rlistiger  und 
munterer  Mann." 

The  details  concerning  Herr  Cochon  are  more  plentiful.  "Auch 
Herr  Cochon  war  eine  iiberraschende  Erscheinung.  Ein  Mann  von 
kleiner  Statur,  feinen  Sitten  und  einer  Grazie  in  seiner  Bewegungen,  die 
selbst  von  seinem  Embonpoint  nicht  gehindert  wurde.  Er  trug  das 
Haupt  gepudert,  Schnallen  an  den  Schuhen,  kurz  er  war  liebenswiirdig. " 
The  description  of  Heloise  is  poetically  colored.  "Heloise  war  eine  jener 
verbliihenden  Gestalten,  die  den  Verlust  der  Jugend  eine  Zeit  lang  durch 
einen  Anstrich  von  Schwarmerei  und  poetischer  Resignation  zu  ersetzen 
wissen.  Sie  hatte  einen  hohen,  stattlichen  Wuchs,  die  Taille  einer 
Gottin  und  einen  griechisch  geformten  Kopf,  aber  das  alles  musste,  als 
sie  jung  war,  schoner  gewesen  sein. "  Araxata's  appearance  is  set  forth 
in  conventional  terms  in  a  single  sentence.  The  few  general  adjectives 
which  are  used  in  describing  Hippolyt  indicate  only  his  age  and  descent. 

The  tendency  in  the  "Prinz  von  Madagascar"  is  to  devote  but  little 
space  to  the  description  of  the  external  appearance  of  the  characters 
and  in  accordance  with  the  nature  of  the  story  to  have  the  comic  element 
predominate  in  that  which  is  given. 


KARL  GUTZKOW'S  SHORT  STORIES  69 

In  "  Kanarienvogels  Liebe  und  Leid"  the  canary  bird  is  described  at 
length.  The  beauty  of  its  plumage  and  its  form  is  compared  with  its 
gentleness  and  its  loving  disposition.  No  such  description  of  the  cat 
is  given. 

Uriel  Acosta,  Ben  Jochai  and  Judith  are  the  only  persons  described 
in  the  "Sadduzaer  von  Amsterdam"  except  for  picture  hints  furnished 
by  occasional  words  and  phrases.  In  no  case  are  the  descriptions  long. 
Uriel's  outward  appearance  is  symbolical  of  the  inward  struggle  through 
which  he  passes.  Thus  he  is  "eine  hohe,  herrhche  Gestalt,  vom  kraf- 
tigsten  und  ebenmassigsten  Gliederbau,  das  Antlitz  dunkel  und  mit 
vollem  Barte  beschattet,  die  Miene  ernst  und  verschlossen,  nur  selten 
von  einem  Zucken  um  die  Mundwinkel  iiberrascht,  aber  das  Auge  matt, 
in  sich  zuriickgezogen.  Das  phantastische,  ritterliche  Gewand  ver- 
mehrte  die  edle  Haltung  und  den  Anstand,  der  seinem  Benehmen  ange- 
boren  schien."  The  scholar  is  plainly  the  type  represented.  "Ben 
Jochai  war  jiinger  als  Uriel,  kleiner  von  Wuchs,  die  Gesichtszuge  waren 
zusammengedrangter  und  orientalischer,  in  seinem  ganzen  Wesen  lag 
viel  freiwillige  Unterwerfung,  vielleicht  mehr,  als  hinreichend  war,  um 
Vertrauen  zu  erwecken. "  The  role  of  traitor  which  Ben  Jochai  plays  is 
here  indicated  for  the  first  time  in  his  physical  characteristics. 

The  description  of  Judith  is  given  in  a  flattering  and  rather  poetically 
overdrawn  picture.  "With  dark,  flowing  locks  of  hair,  a  majestic  fore- 
head, a  dazzling  neck,  and  countless  charms  she  surpassed  even  the  bold- 
est representation  of  the  Grecian  goddess  of  love." 

In  "Seraphine"  the  number  of  times  this  means  of  characterization 
is  resorted  to  is  also  small.  Twice  the  heroine  is  described,  once  in  a 
detailed  account  by  the  author  and  again  m.ore  briefly  by  Arthur  Stahl. 
Both  descriptions  are  serious  studies  and  supply  characteristics  of  im- 
portance. A  humorous  element  is  present  in  some  instances.  Thus 
"  der  Tanzmeister  erschien,  die  Violine  unterm  Arm.  Es  war  eine  kurze, 
wohlbeleibte  Figur,  Krauskopf  mit  grellen  Augen.  AUe  seine  Bewe- 
gungen  schienen  von  einem  inwendigen  Orchester  geleitet.  Apoll  und 
Merkur  zu  gleicher  Zeit,  schwebte  er  in  den  Saal  herein. "  The  Minister 
von  Magnus  is  "ein  langer,  hagerer  Herr,  der  Noth  hatte,  seine  Beine 
(im  Wagen)  unterzubringen.  Er  schlug  sie  gewohnlich  ubereinander, 
auch  die  Arme,  und  senkte  dabei  den  Kopf  tief  in  diese  kreuzweisen 
Verschrankungen  hinein. "  The  Israelite  with  his  yellow  skin  and  bent 
back  becomes  a  familiar  figure  as  does  Seraphine's  father  with  his  little 
black  velvet  cap  and  his  pipe  of  tobacco.  Of  the  remaining  persons  we 
learn  very  little  with  regard  to  their  appearance. 


70  KARL  GUTZKOW'S  SHORT  STORIES 

In  "Arabella"  the  physical  traits  of  the  heroine  and  the  Markese 
are  given  in  quick,  deft  touches.  Arabella's  "feurige  braune  Auge, 
beschattet  von  dunkeln  und  langen  Wimpern,  ihre  Stirn,  begrenzt  durch 
das  hinaufgebundene  Haar  .  .  .  Heiter,  mild,  wie  ionischer  Himmel" 
and  the  later  description,  "Arabella  war  nichts  mehr  als  ein  hinreissendes, 
wunderbar  schones  Antlitz"  are  vivid  strokes.  The  Markese,  like 
Minister  von  Magnus  in  "Seraphine"  is  a  "lange,  hagere  Gestalt" 
with  "blassem,  damonischem  Antlitz."  Ottakar  is  not  described  by 
this  means. 

An  excellent  example  of  description  of  this  sort  is  that  found  in  the 
"  Schauspieler  vom  Hamburger  Berge."  In  two  sentences  the  external 
appearance  of  three  persons  is  given  with  sufficient  detail  and  also  such 
significance  of  choice  as  to  throw  the  characters  of  all  into  clear  relief. 
"Ein  phantastisch  aufgeputztes  Frauenzimmer  mit  geschminktem 
AntHtz,  blossem  Halse,  Schweizermieder,  eine  Seiltanzerin  musste  man 
glauben,  hing  sich  mit  den  wiederwartigsten  Liebkosungen  an  einen 
verstandig  gekleideten  Mann,  der  sich  mit  todtenblassem  Schrecken 
des  zudringlichen  Weibes  zu  erwehren  suchte.  Ein  Hanswurst  in  kur- 
zer  Jacke,  mit  hochrot  geschminktem  Antlitz  und  grellen,  aus  dem  Kopfe 
quellenden  Augen,  mit  einigen  anderen  Wesen  in  gleichem  Aufputze, 
suchte  .  .  .  das  Frauenzimmer  von  dem  erschrockenen  Herrn  zu 
trennen, " 

External  appearances  are  neglected  in  "Das  Stelldichein"  except 
for  a  very  few  purely  conventional  expressions  such  as  "bildschon" 
which  is  used  in  speaking  of  the  Grafin. 

In  "Die  Wellenbraut"  long  descriptions  are  lacking.  IdaHne  is 
described  as  to  her  age.  She  is  further  characterized:  "Die  langauf- 
geschossene,  gazellenschlanke  Gestalt,  die  schonste  Hiille,  die  fiir  das 
Bewusstsein:  Ich  fuhle,  ich  empfinde,  ich  bin  Mensch!  nur  gedacht 
werden  konnte,  war  die  Tochter  des  dirigirenden  Ministers."  A  sort 
of  majesty  at  all  times  characterizes  her,  an  aloofness  the  result  of  birth 
and  training.  Theobald  is  pictured  thus:  "Ein  noch  junger,  doch, 
wie  es  schien,  leidend  blasser  Mann,  war  er;  ein  leichter  schwarzer  Mantel 
umflatterte  die  ebenmassigsten  Formen.  Um  den  Mund  lag  ein  Zug 
der  zwischen  leisem  Spott,  Lacheln,  and  Schmerz  eine  nicht  zu  schildern- 
de  Mitte  hielt."  What  we  know  of  Graf  Waldemar's  appearance  we 
learn  from  a  contrast  between  him  and  Theobald.  "Theobald  war 
kleiner  als  Waldemar,  sein  Haar  war  heller,  sein  Wuchs  and  Wesen 
zarter.  Waldemar's  Auge  schien  feuriger  als  Theobalds."  The  minor 
characters  are  not  described  as  to  their  external  features. 


KARL  GUTZKOW'S  SHORT  STORIES  71 

In  "Die  Konigin  der  Nacht"  the  prince,  the  princess,  the  court 
singer  and  the  second  lieutenant  are  characterized  more  as  types  than 
as  individuals.  They  have  the  bearing  of  the  class  to  which  they  belong 
and  externals  are  taken  for  granted  rather  than  specifically  given.  One 
description  however  is  worthy  of  note.  This  approaches  a  portrayal  of 
the  mysterious  and  fairy-tale-like  kind  for  which  Hoffman  is  well  known. 
Thus,  at  the  time  of  the  theft  of  the  cactus  blossom,  "Aus  dem  riesigen 
Cactus,  dem  die  Konigin  der  Nacht  eben  entbliihte,  ragte  ein  wunder- 
bares  Weib  hervor  in  einem  langen  schwarzen  Gewande  und  gleichfar- 
bigen  Schleier,  dicht  ubersaet  mit  goldenen  Sternen,  das  Haar  aus  dem 
Schleier  herausquellend  und  niedergleitend  in  die  griinen  Aeste  des 
Stammes,  die  wunderbare  Erscheinung  deutlich  sich  herauslosend  aus 
dem  Gezweige,  ja  wie  es  Jastrow  schien,  aus  dem  Kelch  der  sich  eben 
erschUessenden  Blume  selbst. "  This  is  the  first  appearance  of  anything 
savoring  of  an  attempt  to  produce  an  effect  by  means  of  the  wonderful 
in  the  short  stories  of  Gutzkow. 

In  "Die  Selbsttaufe"  the  description  again  is  very  sparse.  Ritter 
Wallmuth  is  posessed  of  a  court  uniform  and  wears  a  large  number  of 
honorary  badges,  Sidonie  is  the  expression  of  a  rich,  full  womanhood, 
Gottfried  is  a  man  of  education  and  keen  feeling,  Agathe  is  a  kindly, 
pinched  little  person,  but  none  of  these  are  described  by  means  of  any 
detail  regarding  personal  appearance,  either  serious  or  humorous,  except 
the  last,  to  whom  the  following  brief  description  is  devoted:  "Sie  stieg 
aus;  eine  kleine  behende  Gestalt,  mit  dunkelschwarzem  Haar,  das  einem 
nicht  schonen  aber  feinen  Gesichtchen  etwas  Interessantes  gab.  Hande, 
Flisschen,  alles  war  ausserordentlich  schmachtig  an  ihr. " 

In  "  Eine  PhantasieUebe  "  Imagina,  Graf  August,  and  Prince  Wismuth 
are  well  described.  Thus  Imagina  as  a  child  is  "wie  ein  Bergmanns- 
knabe  in  weissen  Pumphoschen,  mit  einem  saubern  kleinen  Miitzchen, 
liber  die  blonden  Locken,  kraftigen  Fausthandschuh  an  der  Rechten 
der  zierlichen  Hande,  eine  Laterne  in  der  Linken,"  who  plays  about 
the  hillsides  of  her  native  Silesia.  A  detailed  description  is  given  of 
Imagina  and  Graf  August  as  they  appeared  upon  their  wedding  trip. 
The  manner  of  dress  and  the  general  bearing  of  both  are  described. 

The  Prince  Wismuth  of  Imagina's  dream  is  a  typical  German  student; 
"Ein  Jungling  von  bleicher  Farbe,  in  schwarzem  altdeutschem  Kleide, 
mit  offenem  Halse,  ein  Studentenmlitze  von  rotem  Sammet  und  mit 
silbernen  Troddeln  auf  den  langen  braunen  Locken,  ein  Jungling  so 
sanft,  so  liichelnd,  so  hoheitsvoU. "  The  first  student  whom  Imagina 
sees  in  Breslau  is  dressed  in  the  same  manner. 


72  KARL  GUTZKOW'S  SHORT  STORIES 

Otto  von  Sudburg  is  "ein  junger,  blasser  Mann  mit  schwarzem  Haar, 
starkem  Bart,  eleganter,  weisser  Weste,  in  welcher  er  nachlassig  die 
Finger  steckte."  Feodora  is  "eine  kleine  schwarze  Frau. "  The  char- 
acters of  Imagina's  dream,  King  Kobalt,  Minister  Nickel,  the  prince 
of  hell  and  the  seven  deadly  sins  are  also  described,  the  first  three  in 
some  detail,  the  others  by  one  or  two  characteristic  qualities  of  each. 

"Der  Emporblick"  makes  a  very  free  and  skilful  use  of  external 
appearance  for  illustrating  the  characters.  Ernestine  is  several  times 
described.  The  author  depicts  her  as  a  person  of  admirable  qualities  of 
mind  and  heart  and  as  possessing  a  physique  in  keeping  with  this.  Her 
features  are  regular  and  pleasing,  her  dress  simple  and  becoming,  and 
her  manner  graceful  and  easy.  In  the  closing  chapter,  after  relating  the 
struggles  through  which  Ernestine  has  passed,  he  describes  her  appear- 
ance at  the  time  of  her  illness  and  approaching  death,  contrasting  it  with 
her  earlier  beauty.  Ernestine  is  one  of  Gutzkow's  most  attractive 
figure?. 

Lude  Wachter  is  repeatedly  characterized  as  "ein  blasser  Mann 
mit  einem  v/eissen  Hute. "  Lute's  father  is  "eine  kurze  stammige 
Figur.  Offenbar  scheuen  Blickes  und  eilfertigeren  Ganges,  als  die  Land- 
leute  .  .  .  bestatigte  sein  Erscheinen  schon  des  Sohnes  Angabe. " 
Gustav,  Ernestine's  brother,  is  "bleich  wie  die  Wand,  scheu  wie  das 
bose  Gewissen. "  These  examples  show  ability  to  express  briefly  and 
by  means  of  only  a  few  traits  a  comprehensive  characterization. 

A  longer  description  of  Lude  Wachter  is  the  following:  "Dieser 
gebiickte,  schmachtig  gebaute,  verdriessliche  Mann  mit  blasser  Miene, 
stechenden  grauen  Augen,  fast  bartloser  Lippe  war  ein  halber  Gelehrter. " 
The  appearance  of  Morbiller,  Count  Luchsifuchsi's  valet,  is  humorously 
portrayed.  He  is  "ein  Mann  zu  nennen,  der  zu  seinem  Leibrock  eine 
EUe  Tuch  mehr  als  andere  Mitmenschen  brauchte,  eine  behabiges 
Doppelkinn  hatte,  das  sich  tief  in  seine  leichtgeknotete  Halsbinde  ein- 
wlihlte,  einen  roten  Backenbart,  Ringe  an  den  Fingern,  und  Ringe  in 
den  Ohren." 

In  "Der  Emporblick"  Gutzkow  has  attained  a  high  degree  of  pro- 
ficiency in  the  use  of  descriptions  of  physical  traits,  gestures,  and  reflex 
movements  answering  to  emotional  stresses  for  purposes  of  characteriza- 
tion.    His  ability  in  this  respect  here  approaches  an  art. 

The  three  principal  characters  in  "Die  Kurstauben"  are  described  at 
greater  length  with  regard  to  their  external  appearance  than  is  customary 
in  the  earlier  stories.  The  description  in  each  case  is  detailed,  is  given 
at  the  time  when  each  begins  to  assume  a  position  of  importance  in  the 


KARL  GUTZKOW'S  SHORT  STORIES  73 

action,  and  is  followed  by  a  psychological  analysis.  The  method  of 
prefixing  a  characterization  in  this  manner  is  a  new  departure  as  is  also 
the  summing  up  of  all  the  general  physical  traits  into  one  description  and 
then  for  the  remainder  of  the  narrative  neglecting  them  almost  entirely. 
The  effect  is  not  displeasing. 

The  amount  of  characterization  by  means  of  external  appearance  in 
"  Konig  Franz  in  Fontainebleau  "  is  relatively  small  and  is  confined  mostly 
to  general  descriptive  words  and  phrases.  The  king's  physical  weakness 
and  his  efforts  to  conceal  it  are  mentioned  several  times.  Messire  Claude 
the  king's  physician,  is  repeatedly  characterized  by  the  adjective  "  buck- 
lig. "  Firman  Allard  is  the  only  person  who  is  described  at  length.  The 
picture  which  is  given  of  him  compares  favorably  with  those  found  in 
previous  stories.  He  is  clad  in  "einem  leichten  Lederwamms  mit 
gepuffeten  Hosen,  einem  weissen  Hute  mit  wenn  auch  kleinen  doch  roten 
Federchen,  wie  ein  junger  Trompeter  von  den  Musketieren  desKonigs." 

Almost  without  exception  the  physical  features,  the  dress  and  the 
bearing  of  the  characters  in  "Die  NihiUsten"  are  described  at  length. 
Jean  Reps  and  Hans  von  Landschiitz,  two  comic  figures,  the  one  a  type 
of  literary  vagabond  and  the  other  a  hidebound  Landjunker,  contrast 
strongly  with  the  more  serious  characters  presented.  Hertha,  Con- 
stantin,  Frieda,  Agnes,  Eberhardt  Ott,  all  are  painted  in  pictures  which 
give  definite  physical  traits. 

The  external  appearance  is  made  to  accord  well  with  the  conception 
yielded  by  the  other  means  of  characterization  employed.  Thus  Hertha's 
stateliness  of  carriage  is  paralleled  by  her  nobility  of  soul,  Constantin's 
attractiveness  decreases  with  his  sacrifice  of  principle,  Frieda,  "das 
Kind  Gottes, "  is  nature  personified,  charming  in  all  her  moods  but  not 
to  be  controlled.  Agnes,  shows  in  her  features  the  cunning  which 
is  a  part  of  her  being.  Eberhard  Ott  combines  dignity  of  bearing  with 
loftiness  of  purpose.  The  comic  figures  by  their  personal  appearance 
also  show  deep  rooted  qualities  of  insincerity  and  hatred  of  progress. 

A  few  examples  will  serve  to  show  this  method  of  characterization 
in  this  novel.  Thus  "Hans  war  ein  kurzer,  dicker,  stammiger  Land- 
junker.  In  seiner  griinen,  schnurbesetzten  polnischen  Kurtka  mit 
einigen  liber  die  Schultern  herabhangenden  Troddeln  konnte  er  hoch- 
stens  sechsunddreissig  Jahre  alt  sein,  aber  er  sass  im  Sopha,  pushtete 
und  athmete  er  verdriessHch  und  stohnend,  wie  ein  Sechziger.  Seine 
Schwester  knopfte  ihm  die  Kurtka  auf,  um  ihm  auf  die  Fragen,  die  man 
an  ihn  richtete,  wenigstens  Luft  zu  antworten  zu  geben.  An  den  Stiefeln, 
die  er  ausstreckte,  standen  die  Sporen  in  komischen  Kontrast  zu  seiner 


74  KARL  GUTZKOW'S  SHORT  STORIES 

stammigen  Natur,  deren  Heftigkeit  unci  zornige  Gemlithsaiilage  sich  in 
Icurzen,  stossweiser  Rede  zu  erl^ennen  gab." 

Agnes  is  described  by  a  series  of  antitheses.  "Sie  war  niclit  klein 
sondern  gross.  Sie  hatte  nicht  blaue,  sondern  braune  Augen,  sie  war 
nicht  blond,  sondern  briinett.  Sie  war  nicht  unsicher  und  gedriickt, 
sondern  von  gewahltem  Ton,  zart  zwar  und  von  jener  Zuriickhaltung 
der  Gefiihle,  die  jedoch  etwas  ahnen  lasst  und  ein  achtbarer  heimlicher 
Seelenleben  in  Aussicht  stellt. " 

A  similar  union  of  external  description  and  direct  characterization  is 
that  which  describes  Eberhard  Ott:  "Er  war  ein  jugendlich  blickender 
jSIann,  aber  schon  nahe  den  Dreissigen.  Von  hoher  Gestalt,  gleichmassig 
in  seinen  Formen,  ruhig  und  mild  in  seinem  Benehmen,  musste  er  jedes 
Herz  gewinnen,  vorausgesetzt,  dass  ein  solches  niehr  fur  innere  Gediegen- 
heit  als  fiir  ein  bliihendes  Aeussere  Sinn  hatte. " 

An  effective  bit  of  this  sort  of  characterization  combines  a  contrast 
between  Constantin,  Aurelie  and  Hertha.  ''Constantin  blasse,  verfallen, 
offenbar  krank,  tief  zerriittet,  Aurelie  gut  und  wohlmeinend  in  Wesen 
und  Blick,  unschon  jedoch,  hager,  durr,  reizlos,  trotz  ihrer  Diamanten 
fern  von  jedem  gefalligen  Eindruck.  .  .  .  Nun  erschien  Hertha.  .  .  . 
Seit  zwei  Jahren  war  sie  wie  umgewandelt.  Die  Frische  war  sie  und  das 
Leben  selbst.  Ihr  Auge  voll  blitzenden  Feuers,  ihre  Wange  sanft 
gerotet,  ihre  Gestalt  erst  jetzt  entv/ickelt  wie  nach  lang  unterdrlicktem 
Wachstum.  Der  Ernst  von  ehemals  war  gemildert.  Leicht  und  gefallig 
gab  sich  ihre  Bewegung  unter  den  ]Menschen." 

Comparatively  little  description  of  the  external  appearance  of  the 
characters  in  "Jean  Jacques"  is  given.  Rousseau  is  the  only  one 
described  at  length. 

The  amount  of  such  description  in  "Der  Pfeffer-Matthes"  is  also 
limited  and  is  conventional  in  quality. 

The  same  criticism  apphes  in  general  to  the  "  Diakonissin. "  Short 
descriptions  of  the  characters  are  of  frequent  occurrence,  but  long, 
detailed  accounts  are  found  only  rarely.  The  description  of  Guntram 
furnishes  one  exception  to  the  statement.  He  is  thus  described:  "Der 
kleine  Mann  mit  weissen  Locken  ums  Haupt,  geroteten  Wangen,  klugen 
braunen  Augen,  behend  trotz  seines  Alters,  Kamaschen  an  den  Fiissen 
und  fast  Grau  in  Grau  gekleidet. "  Another  such  characterization  is  the 
following:  "Justizrat  Freydank  war  eine  schlanke  wohlgewachsene 
Gestalt.     Das  Haar  war  auf  dem  Scheitel  schon  etwas  umstandlich 


KARL  GUTZKOW'S  SHORT  STORIES  75 

geordnet,  die  Nase  scharf  und  spitz,  der  Mundwinkel  lachelnd,  das 
Auge  scharf  zusammengedriickt,  mit  emporgezogenen  Brauen,  doch 
harmlos  und  sogar  gutmiitig. " 

These  sketches  compare  well  with  those  of  the  earlier  stories  in 
definiteness  and  detail.  This  novel,  however,  in  proportion  to  its  length 
contains  much  less  description  of  this  kind  than  is  to  be  found  in  most 
of  the  previous  stories. 

In  the  two  sketches,  "Ein  Lebensloos"  and  "  Aus  dem  Schwabenland  " 
there  is  almost  an  entire  lack  of  this  means  of  characterization. 

Two  long  descriptions  of  the  appearance  of  characters  are  found  in 
"Das  Opfer. "  The  principal  persons,  Gabriele  and  her  husband,  are 
the  subjects  of  sketches  which  give  detail  as  exact  and  complete  as  is 
found  in  other  stories  of  Gutzkow  where  the  description  is  elaborate. 
The  remaining  characters  are  described  by  general,  conventional  qualify- 
ing words  or  simply  by  their  profession  or  occupation. 

The  descriptions  in  "Das  Johannesfeuer "  are  less  valuable  than  in 
the  other  stories.  They  lack  definiteness,  are  conventional  in  form,  and 
tend  to  become  bombastic.  Especially  is  this  true  of  the  descriptions  of 
Rother  and  Ottilie;  Edelmann  is  characterized  much  better. 

The  description  of  the  characters  in  "Der  Werwolf"  is  very  similar 
to  the  general  method  pursued  by  Gutzkow.  Several  long,  detailed 
sketches  of  the  personal  appearance  of  characters  are  given  of  which 
those  of  Sigmund  and  Fircks  are  most  important.  Onuphrius  von  Bur- 
gen  and  Zymmeran  are  parallel  figures  in  their  bearing  and  general  ap- 
pearance. Placida  is  not  subjected  to  a  long  description,  but  possesses 
merely  the  conventional  traits  of  beauty  and  intellect  ascribed  to  heroines 
generally.  Fircks,  the  villain,  is  cast  in  the  proper  mould  to  correspond 
with  his  part.  He  arouses  distrust  in  Sigmund  by  his  physical  charac- 
teristics while  as  yet  nothing  ill  is  known  concerning  him.  As  a  whole 
the  characterization  is  somewhat  more  realistic  than  in  the  "Johannes- 
feuer. " 

2.  Inner  Characterization 

a)  The  Character  Sketch 

The  extent  to  which  Gutzkow  employs  the  character  sketch  in  his 
short  stories  varies  greatly.  In  the  "Prinz  von  Madagascar"  the  hero 
is  described  by  this  means  at  considerable  length  near  the  beginning 
of  the  story.  Short  sketches  are  given  also  of  Herr  Cochon  and  of 
Heloise.  The  use  of  a  single  sentence  or  of  a  few  adjectives  to  denote 
the  principal  characteristics  of  the  various  persons  is  common. 


76  KARL  GUTZKOW'S  SHORT  STORIES 

In  "  Kanarienvogels  Liebe  und  Leid"  the  two  animals  are  the  subjects 
of  long  sketches  setting  forth  their  distinguishing  traits. 

The  Sadduzaer  von  Amsterdam"  contains  no  long,  direct  characteri- 
zation. Instead  each  of  the  chief  characters  has  his  soul  laid  bare  by 
a  psychological  analysis  which  is  searching,  thorough,  and  detailed, 
but  which  is  not  carried  to  a  point  where  it  becomes  wearisome. 

An  analysis  of  a  somewhat  similar  nature  is  combined  in  "Seraphine" 
with  direct  characterization.  Emotions  and  actions  are  critically 
scanned.  Motives  are  mercilessly  scrutinized.  This  is  done  for  the 
most  part  in  the  long  dialogues  or  in  the  heroine's  diary.  The  principal 
characters  frequently  express  at  length  their  own  estimates  of  themselves. 
This  is  especially  true  of  Edmund  von  Oppen  and  Arthur  Stahl.  The 
author's  attitude  toward  his  heroine  is  noticeably  lacking  in  sympathy. 

The  character  sketch  is  not  found  in  "Arabella,"  " Schauspieler  vom 
Hamburger  Berge,"  nor  "Das  Stelldichein. "  In  so  far  as  direct  char- 
acterization is  employed  it  extends  in  most  instances  to  the  use  of  quali- 
fying phrases  and  clauses  only. 

"Die  Wellenbraut "  contains  more  direct  characterization  than  the 
immediately  preceding  three  stories,  but  no  long,  exhaustive  sketches 
are  attempted.  A  considerable  amount  of  detail  is  given,  at  the  begin- 
ning of  the  story,  regarding  IdaUne,  but  a  study  of  motives,  feelings, 
and  her  psychological  reactions  to  external  influences  are  woven  into 
the  description  and  prevent  its  becoming  a  simple  narrative  of  the  hero- 
ine's qualities.  The  remaining  characters  are  treated  in  a  similar  man- 
ner. 

Short  sketches  of  the  lives  of  Prince  Max  and  of  Ladoiska  previous  to 
the  events  of  the  "Konigin  der  Nacht"  indicate  the  characters  of  the  two. 

"Die  Selbsttaufe"  resembles  "Die  Wellenbraut"  in  its  use  of  direct 
characterization.  All  of  the  characters  are  described  to  a  certain  extent 
in  this  way,  but  the  tendency  of  the  author  to  introduce  other  elements, 
such  as  illustrative  incidents,  contrasts  with  other  characters,  or  an  ana- 
lysis of  the  individual's  motives  and  mode  of  thinking,  wards  oflF  mono- 
tony. 

In  "Eine  Phantasieliebe"  short  characterizations  are  frequently 
found.  Phrases  or  clauses  occasionally  express  in  a  few  words  the 
principal  traits.  Thus  Fritze,  the  gendarme,  is  "ein  vollig  aufgeklarter 
und  abstractdenkender  Weltbiirger. "  Andres,  the  coachman,  is  "ein 
echtes  schlesisches  Landeskind. " 

In  "Der  EmporbUck"  a  much  more  extended  use  of  such  short 
characterizations   is   made.     Scharfneck    is    "ein   allbeliebter   jovialer 


KARL  GUTZKOW'S  SHORT  STORIES  77 

Gesellschaf ter. "  Hartmann  is  "auf  den  ersten  einfachsten  Kenner- 
blick  ein  Tyrann,  ein  junger  Mann  voll  Eitelkeit  unci  dem  gefiihrlich- 
sten  Selbstgefiihl. "  Langheinrich  is  described  in  brief,  quick  strokes 
that  strongly  suggest  Heinrich  von  Kleist's  style.  Thus,  "  Es  war  einer 
der  eigentiimlichsten  JMenschen,  die  jemals  einen  griinen  Rock  mit 
blauem  Kragen  und  ditto  Aufschlagen  getragen  haben."  Again  the 
same  person  is  "einer  der  edelsten  und  gefiihlvollsten  Menschen,  die 
je  in  die  schwierigen  Collisionen  von  Pflicht  und  Riicksicht  gekommen 
sein  mogen."  Ernst  Oswald  is  "ein  junger  zum  Staatsdienst  sich  vor- 
bereitender  Rechtskundiger,  Referendar,  Ausculator,  Accessit  genannt 
in  unseren  an  Titeln  so  reichen  und  bei  Stellungen,  die  nur  Hoffnungs- 
gebende  sind,  doppelt,  reichen  Vaterlande. "  The  pastor  is  an  elderly 
man  who  belongs  to  the  "alte  sachsische  Vernunftsschule, "  and  the  Land- 
rath  is  one  who  sails  with  the  wind  which  blows  from  the  pious  circles 
of  the  "Residenz, "  a  theologian  in  his  own  way. 

Direct  characterization  is  not  employed  extensively  in  "Die  Kur- 
stauben,"  but  a  searching  study  of  motives  and  psychological  reactions 
is  made  that  recalls  the  same  technique  in  the  "  Sadduzaer  von  Amster- 
dam." 

In  "Konig  Franz  in  Fontainebleau  "  the  long  sketch  is  no  more  to  be 
found  than  in  the  majority  of  these  stories.  Certain  adjectives,  however, 
occur  repeatedly  which  emphasize  various  qualities  of  the  different  per- 
sons. Thus  the  king  is  either  "der  gute  Konig"  or  "der  machtige  Kon- 
ig, "  and  Blanche  is  "  die  schone  Blanche. " 

By  comparison  with  the  other  short  stories,  there  is  considerable 
direct  characterization  in  "Die  Nihilisten."  Sketches  of  many  of  the 
characters  are  given  but  such  characterization  is  combined  with  an  ana- 
lysis of  motives  or  else  it  follows  a  description  of  the  physical  traits  of  the 
individual. 

"Jean  Jacques"  also  possesses  an  amount  of  direct  character  por- 
trayal greater  than  is  ordinarily  the  case.  Rousseau  is  the  subject  of  a 
detailed  study  in  which  his  mode  of  thought  and  psychological  reactions 
are  minutely  described. 

The  amount  of  direct  characterization  in  "Der  Pfeffer  Matthes"  is 
small. 

In  "Die  Diakonissin"  the  characters  are  all  sketched  lightly  but  no 
exhaustive  summaries  of  their  qualities  are  given.  The  use  of  phrases, 
clauses,  or  of  single  sentences  only  for  this  purpose  is  the  usual  method. 

In  "Ein  Lebensloos"  the  direct  characterization  which  is  given  in  the 
equivalent  of  a  psychological  analysis. 


78  KARL  GUTZKOW'S  SHORT  STORIES 

In  "Aus  dem  Schwabenland "  and  "Das  Opfer"  suggestive  words 
take  the  place  of  character  sketches. 

"Das  Johannesfeuer "  is  very  similar  to  the  remaining  stories.  We 
learn  concerning  Ottilie  that  she  had  "eine  geschickte  Hand  in  Anordnen, 
war  Meisterin  der  Situationen,  stellte  Menschen  und  Verhaltnisse  immer 
an  den  rechten  Platz."  Ottilie  is  also  repeatedl}^  referred  to  as  "ein 
praktischer  Charakter. "  Hipler  is  several  times  termed  "der  schone 
Julius. "     Such  touches  as  these  are  comm.on. 

In  "Der  Werwolf"  the  usual  amount  of  direct  characterization  is 
given  incidentally. 

b)  Minor  Action 

Aside  from  the  main  action  there  are  in  most  stories  little  incidents, 
brisk  situations,  and  responses  to  impulses  made  by  the  characters  which 
contribute  materially  to  a  better  understanding  of  these  persons.  Some 
of  these  lesser  actions  will  be  pointed  out  in  the  following  lines  and  the 
way  in  which  they  contribute  to  the  characterization  will  be  indicated. 

Hippolyt's  unfailing  good  humor  is  thus  illustrated  in  the  "Prinz 
von  Madagascar."  In  the  scene  with  Culotte  and  the  Marquis  le 
Poivre  he  appears  as  a  boon  companion.  His  ability  in  a  social  line  is 
shown  upon  the  occasion  of  his  visit  to  Herr  Cochon.  Finally  the  poUte 
manner  in  which  he  explains  to  his  captors  that  he  is  not  in  the  habit  of 
arising  so  early  as  they  have  awakened  him  forms  a  climax  in  furnishing 
proof  of  his  imperturbable  cheerful  temperament.  The  estabUshment 
of  a  bond  of  democratic  friendship  between  Colas  and  Polyglotte  after 
the  prince's  seeming  desertion  of  his  mission  is  a  clever  touch  designed 
to  show  the  kinship  of  humanity.  The  seriousness  vath  which  the  old 
servant  regards  the  trip  to  Madagascar  comes  out  ver>'  clearly  when  he 
rebukes  the  professor  for  his  frivolous  remarks  when  the  subject  is  first 
introduced.  Colas  is  unable  to  hear  his  favorite  idea  sHghtingly  re- 
marked upon. 

Minor  situations  of  this  sort  are  not  found  in  "  Kanarienvogels  Liebe 
und  Leid. " 

"Der  Sadduzaer  von  Amsterdam"  possesses  an  extremely  compact 
structure.  The  action  is  rapid  and  continuous,  as  a  result  of  which 
the  hero  remains  constantly  in  the  foreground,  and  there  are  no  minor 
situations  to  aid  in  the  characterization.  Everything  centers  around 
the  chief  action. 

"  Seraphine  "  is  long,  diffuse,  and  full  of  repetitions.  The  same  events 
and  persons  are  treated  in  several  instances.  In  each  case,  however, 
since  the  viewpoint  of  the  speaker  is  different  progress  results.     Minor 


K.\RL  GUTZKOW'S  SHORT  STORIES  79 

episodes  are  frequent.  The  quarrel  between  Sannchen  and  Lenchen 
not  only  introduces  a  comic  element,  but  throws  the  characters  of  two 
ridiculous  old  women  into  clear  relief  and  reveals  Seraphine  in  the  role 
of  one  who  knows  well  how  to  profit  by  circumstances.  Phihpp  involun- 
tarily prostrates  himself  when  the  host  is  carried  past  although  he  pro- 
fesses to  have  become  a  convert  to  protestantism.  He  and  Ferdinand 
quarrel  continually  and  betray  lack  of  self-control.  The  interview 
between  the  Jew  and  the  prime  minister  is  another  minor  situation  that 
aids  in  showing  character. 

The  next  live  stories,  "Arabella,"  " Schauspieler  vom  Hamburger 
Berge,"  "Das  Stelldichtein, "  "Die  Wellenbraut, "  and  "Die  Konigin 
der  Nacht"  do  not  make  use  of  this  means  of  characterization. 

In  "Die  Selbsttaufe"  there  is  a  return  to  this  kind  of  character  por- 
trayal. Wallmuth,  Agathe,  and  in  a  lesser  degree,  Sidonie,  have  their 
principal  traits  emphasized  by  actions  growing  out  of  their  dispositions. 
Wallmuth  appears  in  his  home  as  a  petty  tyrant,  and  as  an  utterly 
heartless  person  where  no  reward  is  to  be  expected.  His  servant  and  the 
sexton  are  only  objects  to  him,  not  human  beings  with  feelings.  Con- 
sideration for  the  welfare  of  others  he  makes  entirely  subordinate  to  his 
own  comfort.  The  minor  situations  in  which  Agathe  is  placed  show  her 
to  be  an  entirely  different  sort  of  person  from  her  father.  She  is  kind 
and  sympathetic.  The  servants  all  rejoice  when  she  comes  home  and  the 
sexton  not  only  receives  his  pay  but  also  many  kindly  words.  Situations 
of  a  similar  nature  show  that  Sidonie  is  much  more  like  her  father  than 
she  is  like  her  sister. 

Several  characters  in  "Eine  Phantasieliebe "  have  certain  traits 
either  revealed  or  else  emphasized  by  minor  situations.  The  Landrath's 
affection  for  his  daughter  becomes  still  more  apparent  by  his  efforts  to 
conceal  it  when  he  bids  her  goodbye  and  keeps  repeating  "Na,  ich  seh' 
Dich  bald  in  Breslau. "  Imagina's  domestic  trend  of  mind  is  well 
illustrated  by  the  efforts  which  she  makes  to  render  her  apartments  in 
the  hotel  more  homelike.  Fritz  and  Andres  continually  perform  little 
acts  in  keeping  with  their  callings. 

It  is  difficult  to  point  out  minor  actions  in  "Der  EmporbUck"  which 
serve  to  indicate  character  but  are  not  related  closely  to  the  main  action. 
The  entire  content  of  the  two  stories  told  by  Scharfneck  aids  in  charac- 
terization and  appears  at  first  sight  to  be  only  loosely  united  with  the 
principal  motives.  Closer  study,  however,  indicates  that  both  stories 
possess  importance  as  retarding  forces  in  the  progress  of  the  love  affair 
between  Ernst  and  Ernestine  and  also  in  the  formation  of  a  social  milieu. 


80  KARL  GUTZKOW'S  SHORT  STORIES 

Owing  to  its  closely  knit  structure  "Die  Kurstauben"  is  lacking  in 
characterization  of  this  sort.  Its  use  in  "Konig  Franz  in  Fontaine- 
bleau,"  in  "Jean  Jacques,"  and  in  "Der  Pfefifer-Matthes "  is  also  neg- 
ligible. 

Minor  episodes  introduced  purely  for  purposes  of  characterization 
are  found  only  rarely  in  "Die  Kiakonissin. "  Frau  Angelika  Meyer  and 
Frau  Wisthaler  have  traits  of  jealousy  and  ficklemindedness  respec- 
tively revealed  by  incidents  not  strictly  concerned  in  the  main  action. 

There  are  no  minor  situations  aside  from  the  main  action  in  "Ein 
Lebensloos"  and  "Aus  dem  Schwabenland "  which  are  used  as  aids  in 
characterization. 

The  parting  scene  in  "Das  Opfer"  between  Gabriele  and  her  husband 
when  the  latter  leaves  to  attend  his  club  is  a  situation  that  illustrates 
the  cheerful,  contented  character  that  these  two  possess.  The  nurse's 
reluctance  to  call  the  doctor  and  her  suspicions  of  his  remedies  reveal 
her  prejudice  and  superstition. 

In  "Das  Johannesfeuer "  the  scenes  in  which  Ottilie  and  Frau  Munde 
discuss  Rother  are  of  importance  in  showing  the  former's  superior  quah- 
ties  and  her  dominating  position  in  the  home.  The  older  lady's  im- 
petuosity and  lack  of  foresight  appear  at  the  same  time. 

The  minor  situations  and  actions  of  which  there  are  several  in  "Der 
Werwolf"  serve  to  lend  background  and  historical  coloring  rather  than 
as  aids  in  characterization 

c)  Contrast 

The  use  of  contrasting  figures  as  a  method  of  strengthening  the 
characterization  is  to  be  found  in  many  of  the  short  stories.  "Kanarien- 
vogels  Liebe  und  Leid  "  is  the  first  example  of  this.  Here  the  innocence 
and  native  virtue  of  the  bird  present  a  stronger  appeal  than  they  other- 
wise would  because  they  are  opposed  to  the  artificial  culture  and  acquired 
polish  of  the  cat.  The  contrast  between  the  genuine  and  the  false  is 
seen  clearly  because  of  their  close  juxtaposition. 

Several  instances  of  contrasting  types  are  found  in  "  Die  Sadduzaer 
von  Amsterdam. "  Uriel  is  high-minded  and  unsuspicious.  He  reveals 
his  thoughts  with  no  attempt  at  evasion  to  the  one  he  deems  his  confi- 
dant. Jochai  is  of  an  exactly  opposite  nature.  He  is  narrow-minded, 
suspicious,  secretive,  and  traitorous.  Judith  is  a  weak  character  who 
is  unable  to  support  Uriel  in  his  hour  of  need.  The  sister  remains  true 
throughout  the  entire  ordeal. 

In  "Seraphine"  Arthur,  Edmund,  and  PhiHpp  represent  opposing 
types,  although  they  can  scarcely  be  considered  as  directly  contrasted 


KARL  GUTZKOW'S  SHORT  STORIES  81 

characters.  Seraphine  and  Frau  von  Magnus  occupy  a  similar  relation 
to  each  other.  All  five  are  examples  of  familiar  "Young  German" 
characterization  and  taken  collectively  they  form  a  fairly  accurate  repre- 
sentation of  the  ideas,  tendencies,  and  figures  of  that  group. 

Contrasted  characters  are  not  present  in  "Arabella"  nor  in  the 
"  Schauspieler  vom  Hamburger  Berge. " 

In  "Das  Stelldichein "  the  count  and  the  countess  appear  respectively 
as  representatives  of  a  restless  desire  for  adventure  and  a  peaceable  en- 
joyment of  domestic  happiness,  of  slyness  and  of  innocent  trust. 

The  contrast  in  "Die  Wellenbraut"  hes  in  the  opposing  attitudes  of 
Theobald  and  Graf  Waldemar  as  liberal  and  conservative,  as  commoner 
and  nobleman.     Beyond  this  it  does  not  extend. 

The  two  female  characters,  Jocunde,  with  her  prerogatives  of  rank 
and  position  and  her  clear-cut,  positive  personality,  and  Ladoiska,  whose 
circumstances  are  such  that  they  prevent  her  from  entering  an  active 
rivalry  with  the  princess  for  supremacy  in  the  prince's  affections,  are  the 
persons  opposed  to  each  other  in  "  Die  Konigin  der  Nacht. " 

Contrast  is  a  most  important  means  of  characterization  in  "Die 
Selbsttaufe. "  Ritter  Wallmuth  and  Sidonie  are  of  a  very  different 
type  from  that  to  which  Agathe  belongs.  The  cold,  selfish,  inconsiderate, 
and  at  times  almost  brutal  conduct  of  the  father  and  the  older  sister 
bring  into  sharpest  rehef  the  natural  kindliness  and  self-sacrifice  of  the 
despised  younger  sister.  This  contrast  is  carried  into  detail  throughout 
the  story.  Gottfried  is  also  contrasted  with  Agathe  and  his  intellectual 
life  is  shown  to  be  far  above  hers  and  to  possess  a  great  deal  more  in 
common  with  that  of  Wallmuth  and  Sidonie. 

This  means  of  characterization  is  equally  valuable  in  "Eine  Phan- 
tasieliebe."  Imagina  is  contrasted  with  nearly  all  of  the  remaining 
persons.  August  von  Wartenberg,  her  husband,  is  a  man  of  the  world, 
accustomed  to  society,  dehghting  in  the  pleasures  of  fashionable  resorts, 
thoroughly  selfish.  Feodora  is  a  type  of  woman  corresponding  to 
August  but  possessing  in  addition  qualities  of  craftiness  and  deception. 
Imagina's  father  is  rough  and  lacking  in  refinement.  Madame  Milde 
commands  a  practical  knowledge  of  affairs  together  with  an  understand- 
ing of  human  nature  that  enable  her  to  judge  others  correctly. 

Imagina  differs  radically  from  all  of  these  persons.  She  lacks  the 
experience  of  the  fashionable  set  with  whom  she  is  obUged  to  associate 
and  receives  little  pleasure  from  their  forms  of  entertainment.  She  is 
frank  and  open  in  her  manner  of  thinking  and  her  habits  of  action.  Her 
feelings  are  sensitive  and  refined.     The  imagination  is  her  most  highly 


82  KARL  GUTZKOW'S  SHORT  STORIES 

developed  soul-power.  Hence  she  misunderstands  those  about  her  and 
is  in  turn  misunderstood  by  them.  She  is  not  one  who  knows  how  to 
acquire  a  place  for  herself  and  the  result  is  the  tragic  outcome  of  her 
marriage  with  August. 

There  are  numerous  contrasts  employed  in  "Der  Emporblick. " 
Thus  the  lower  classes  as  a  whole  are  contrasted  with  the  middle  classes 
of  society  and  within  each  of  these  divisions  there  are  again  opposing 
figures.  Ernst  and  Scharfneck  run  contrary  to  each  other  in  their  attitude 
toward  the  common  people.  Ernestine  struggles  to  uplift  herself,  Mal- 
vine  and  her  friends  yield  to  the  influence  of  environment  and  become 
criminal 

In  "Die  Kurstauben"  Sancho  and  Leontine  are  enthusiasts.  Herz  is 
a  shrewd,  practical  business  man.  The  conduct  of  the  former  two  is 
uncertain  and  subject  to  sudden  impulses.  The  characteristic  quaHty 
of  the  last  is  his  certainty  in  his  acts.  He  plans  definitely  and  moves 
accordingly. 

The  element  of  contrast  in  "Konig  Franz  in  Fontainebleau "  lies 
between  the  artificiaUty  of  the  court  and  the  simplicity  of  the  lovers. 

This  means  of  characterization  is  used  very  skilfully  in  "Die  Nihilis- 
ten. "  There  are  two  general  classes  of  characters;  those  who  pass 
through  a  stage  of  development  which  changes  their  view-point  and 
deepens  their  soul-life,  and  those  who  do  not  make  this  progress,  whose 
principles  become  fixed  and  dogmatic.  Hertha,  Wingolf,  and  Eberhard 
Ott  belong  to  the  first  division,  Constantin  Ulrichs  and  Hans  von  Land- 
schiitz  are  members  of  the  second. 

The  female  characters  are  also  contrasted.  Hertha,  Aurelie,  Eugenie, 
Agnes,  and  Frieda  all  represent  differing  types. 

In  "Jean  Jacques"  the  philosopher  Rousseau  is  brought  into  contrast 
with  nearly  all  of  the  remaining  characters.  His  own  life  and  desires 
separate  him  widely  both  from  his  immediate  circle  composed  of  his  wife 
and  her  relatives  and  from  the  higher  society,  which  he  occasionally 
enters.  He  fails  everywhere  in  his  search  for  congenial  companionship, 
and  is  continually  subjected  to  disappointment. 

No  contrasted  characters  are  found  in  "Der  Pfeffer-Matthes. " 

Gerhardt  Hartlaub  in  "Die  Diakonissin"  represents  simple,  sturdy 
manhood  unaffected  by  the  weakening  tendencies  which  attach  them- 
selves to  European  civilization.  He  stands  in  a  position  of  greater  or 
less  contrast  to  all  of  the  remaining  characters.  Strictly  speaking  there 
are  no  directly  contrasted  figures. 

"Ein  Lebensloos"  also  lacks  such  an  aid  to  the  characterization. 


KARL  GUTZKOW'S  SHORT  STORIES  83 

There  is  a  contrast  in  "Aus  clem  Schwabenland  "  between  the  military 
class  and  the  peasant  but  the  persons  who  represent  these  two  classes 
are  not  contrasted  characters. 

Hugo  Ellrich  and  the  Justizrat  Wenck  as  suitors  for  the  hand  of 
Gabriele  Berger  are  opposing  figures  in  "Das  Opfer."  Auguste  is  also 
placed  in  opposition  to  Gabriele.  As  a  means  of  characterization,  how- 
ever, contrast  is  only  of  slight  importance  n  this  story. 

In  "Das  Johannesfeuer "  it  possesses  a  greater  value.  Ottilie  Walch 
and  Frau  Munde  are  contrasted  in  both  their  physical  and  their  mental 
characteristics.  Often,  too,  their  opinions  are  at  variance  with  each 
other.     An  element  of  humor  results  frequently  from  this. 

The  use  of  contrast  for  purposes  of  characterization  is  to  be  seen  in 
"Der  Werwolf"  in  the  portrayal  of  Sigmund  von  Landeck  and  Wenzel 
von  Fircks,  the  former  in  a  favorable  light  as  the  lover  and  hero,  the 
latter  in  dark  hues  as  a  jealous  trouble-maker  and  villain, 
d)  Peculiarites  of  Speech 

Peculiarities  of  speech  are  often  used  by  authors  as  an  aid  in  charac- 
terization. Thus  one  character  m.ay  speak  a  certain  dialect,  a  second 
has  his  stereotyped  expressions,  and  a  third  uses  either  a  simple  or  a 
bombastic  style.  This  means  of  characterization  is  found  in  Gutzkow's 
earliest  story,  "Der  Prinz  von  Madagascar."  Polyglotte  speaks  in 
stilted  phrases  which  reflect  the  influence  of  books  and  a  lack  of  contact 
with  the  everyday  world.  His  manner  of  speech  is  purposely  exaggerated 
in  order  to  add  to  the  caricature  of  a  certain  type  of  learning  which  it 
was  the  author's  intention  to  lightly  satirize.  Hippolyt  uses  the  exclama- 
tion, "Soil  mich  Gott  bewahren!"  frequently  to  indicate  strong  emotion 
and  it  never  fails  to  impress  the  reader  as  being  humorous.  The  Marquis 
le  Poivre  very  often  finishes  his  chief's  sentences  for  him  and  not  infre- 
quently anticipates  his  superior's  thoughts  and  utters  them  before  the 
latter  is  able  to.     The  effect  of  this  is  also  humorous. 

In  "Kanarienvogels  Liebe  und  Leid"  there  is  no  use  of  this  method. 
It  is  also  not  found  in  "Der  Sadduzaer  von  Amsterdam"  unless  the 
serious  tone  in  which  the  priests  pronounce  their  ban  upon  Uriel  may 
be  considered  as  an  example  of  this  means.  The  fact  that  all  of  the 
characters  belong  to  the  same  social  stratum  necessarily  prevents  marked 
differences  of  speech. 

"Seraphine"  marks  a  return  to  this  means  of  characterization  but 
for  the  minor  characters  only.  Thus  Madame  Lardy's  conversation  is 
freely  interspersed  with  foreign  expressions  and  with  sentences  closely 


84  KAEL  GUTZKOW'S  SHORT  STORIES 

resembling  in  form  and  choice  of  words  the  various  educational  treatises 
which  she  has  read.  Frau  von  Oppen  confuses  the  words  "stethoscope" 
and  "telescope."  Philipp's  mother  is  a  little,  dried-up  old  woman  who 
nods  her  head  continually  and  replies  to  all  questions  with  "Es  wird 
alles  gleich  fertig  sein."  The  remaining  characters  speak  a  language 
free  from  mannerisms. 

In  "Arabella"  there  is  but  one  circle  of  society  and  hence  no  use 
of  this  means. 

In  the  "  Schauspieler  vom  Hamburger  Berge"  the  members  of  the 
troupe  of  actors  speak  in  short,  hurried  sentences.  Contracted  forms 
such  as  'mal  for  einmal  and  d'ran  for  daran  are  used  to  introduce  a  touch 
of  dialect. 

"Die  Wellenbraut "  is  similar  to  "Arabella"  in  not    using    speech 
peculiarities  for  purposes  of  characterization. 

In  "Die  Konigin  der  Nacht"  Eugen  von  Jastrow  is  addicted  to  the 
use  of  French  phrases  and  frequent  witticisms.  The  spectators  at  the 
opera  speak  in  short,  broken  periods. 

Ritter  Wallmuth  in  "Die  Selbsttaufe"  speaks  a  learned  bombast. 

"Eine  Phantasieliebe  "  shows  a  more  extensive  use  of  this  means  than 
is  to  be  found  in  any  of  the  previous  stories.  Andres  and  Fritze  speak  a 
dialect  marked  by  short,  quick,  exclamatory  sentences,  the  omission  of 
articles,  the  use  of  contractions,  and  the  substitution  of  pronouns  of  the 
third  person  when  the  second  person  would  ordinarily  be  used.  In  addi- 
tion to  these  peculiarities  Andres  has  his  stock  phrase,  "Frolen,  da  ist 
Einer. "  He  also  confuses  the  words  "conversation"  and  "conserva- 
tion" very  amusingly  in  speaking  of  the  conversation  hall.  The  Land- 
rath  uses  frequent  oaths  and  is  blunt  and  soldier-like  in  his  speech.  He 
also  employs  French  occasionally.  The  virtuoso  at  Baden-Baden  is 
always  eager  for  his  "  quatre  mains  Spiel. "  French  is  always  spoken  by 
the  Russian  noblewoman. 

A  few  of  the  characters  in  "Der  Emporblick"  also  have  mannerisms 
of  speech.  The  peasant  talks  of  the  "  Stadtminschen  "  and  the  "  Buuers- 
liiden."  Hartmann  uses  his  "He!  Hola!  Houp!"  repeatedly  and 
intersperses  French  words  among  his  German.  He  is  regarded  by  the 
common  people  with  whom  he  has  condescended  to  spend  a  day  as  an 
"eigener"  man.  Scharfneck's  attitude  toward  the  proletariat  is  that  of 
disdain.  He  continually  exhorts  Ernst  to  look  upward  and  to  seek  for 
companionship  among  people  of  social  rank  and  position.  This,  of 
course,  is  more  properly  a  characterization  by  means  of  the  range  of 
thought  interests  of  Scharfneck  than  it  is  a  characterization  by  manner 


KARL  GUTZKOW  S  SHORT  STORIES  85 

of  speech.  It  is  included  here,  however,  because  such  a  method  is  not 
discussed    separately. 

"Die  Kurstauben"  and  "Konig  Franz  in  Fontainebleau "  contain 
no  examples  of  the  use  of  dialect  or  of  any  other  peculiarities  of  speech. 

The  subjects  of  conversation  in  "Die  NihiHsten"  furnish  a  better 
criterion  for  judging  the  characters  than  does  the  form  in  which  their 
thoughts  are  expressed.  No  attempt  is  made  to  employ  unusual  lan- 
guage. 

This  means  of  characterization  assumes  no  importance  in  "Jean 
Jacques,"  "Der  Pfefifer-Matthes, "  "Die  Diakonissin, "  or  "Ein  Lebens- 
loos." 

In  "Aus  dem  Schwabenland "  the  Holzenbauer  repeatedly  uses  the 
expression  "Nehmen  Sie's"  in  his  conversation  with  Speidle.  By  so 
doing  he  emphasizes  the  respect  which  he  as  a  peasant  has  for  the  gen- 
darme, the  representative  of  the  law. 

In  "Das  Opfer"  the  nurse's  "Engel  sind  in  Himmel"  shows  the 
practical  turn  of  mind  and  unimaginativeness  of  that  person. 

An  obvious  attempt  to  characterize  Edelmann  by  his  speech  is  made 
in  "Das  Johannesfeuer. "  As  a  servant  he  speaks  a  less  polished  and 
more  colloquial  German  than  the  remaining  characters  do. 

"Der  Werwolf"  neglects  this  means  of  characterization. 

e)  Opinions  of  Others 

Characterization  by  means  of  the  opinion  of  others  is  a  very  important 
means.  It  matters  little  whether  the  judgments  which  are  expressed 
are  strictly  truthful  or  not,  such  characterization  possesses  value  for  both 
the  person  described  and  for  the  speaker. 

In  "Der  Prinz  von  Madagascar"  Colas  pictures  Polyglotte  before 
the  latter  has  made  his  appearance  in  the  story  as  "ein  charmanter 
Mann,  voller  Gelehrsamkeit,  gar  kein  Stolz,  feine  Sitten,  alle  Sprachen 
der  Welt,  die  sich  nur  denken  lassen. "  This  not  only  shows  the  favorable 
impression  which  Polyglotte  has  produced  upon  Colas,  but  it  at  the  same 
time  reveals  the  old  man's  respect  for  the  learned  class.  The  speculations 
of  Culotte  and  of  Marquis  le  Poivre  concerning  Hippolyt  do  even  more 
toward  disclosing  the  mutual  relations  and  feelings  of  the  former  two 
than  they  do  toward  characterizing  Hippolyt.  Colas  not  only  shows 
a  keen  insight  into  his  master's  character,  but  also  reveals  his  own  love 
and  devotion  for  Hippolyt  when  he  says:  "Ich  weiss,  der  gute  Jiingling 
ist  leichtsinnig,  allein  man  kann  ihn  lenken,  er  ist  fiir  gute  Ratschlage 


86  KARL  GUTZKOW'S  SHORT  STORIES 

empfiinglich,  und  tut  alles,  wenn  man  es  gern  hat."  Numerous  other 
instances  of  a  similar  nature  are  to  be  found  in  "  Der  Prinz  von  Madagas- 
car. " 

Characterization  of  this  sort  does  not  occur  in  "  Kanarienvogels 
Liebe  und  Leid. " 

In  "Der  Sadduzaer  von  Am.sterdam"  it  is  again  prominent.  Uriel  is 
excellently  described  by  the  members  of  his  family  circle,  particularly 
by  his  mother,  Frau  Esther,  just  before  he  enters  the  home.  Judith 
is  characterized  in  the  same  conversation.  The  dream  which  is  related 
by  Esther  possesses  value  as  being  prophetic  of  the  approaching  tragic 
conclusion.  Ben  Jochai  is  well  characterized  by  Judith,  but  her  estimate 
of  him  as  a  friend  of  Uriel's  proves  to  be  a  false  one. 

In  "Seraphine,"  owing  to  the  fact  that  two  of  the  chapters  are  long 
dialogues  and  a  third  is  a  diary,  this  means  of  characterization  is  used 
extensively.  The  opinions  and  viewpoints  of  three  persons  are  presented. 
In  addition  to  this  general  method  of  applying  this  means  of  characteri- 
zation there  are  also  special  instances,  as  for  example  the  excellent  char- 
acter study  which  Frau  von  Magnus  makes  of  Seraphine  when  conversing 
with  the  latter. 

The  conversation  in  "Arabella"  serves  dramatic  purposes  rather 
than  as  an  aid  in  characterization. 

The  characters  in  the  "  Schauspieler  vom  Hamburger  Berge  "  express 
judgments  very  freely  with  regard  to  one  another.  Thus  the  attendant 
in  the  show  troupe  criticises  Albertine,  the  innkeeper  discourses  con- 
cerning Heinrich  M,  and  this  actor  in  turn  comments  at  length  upon 
the  virtues  and  the  failings  of  Albertine. 

In  "Das  Stelldichein"  Graf  Hugo  is  twice  characterized  by  others, 
once  by  his  friends  in  general,  no  one  is  named,  and  again  by  an  old 
lady  who  is  also  unnamed.  He  himself  passes  an  opinion  upon  his  wife, 
Auguste. 

The  use  of  the  letter-form  in  several  chapters  of  "Die  Wellenbraut " 
permits  Theobald  to  reveal  his  impressions  of  Idaline  and  the  circle  in 
which  she  lives.  From  these  characterizations  the  reader  derives  not 
only  a  knowledge  of  the  persons  described  but  he  also  discovers  Theo- 
bald's criteria  for  judging  and  from  these  he  in  turn  revises  his  own  views 
of  Theobald.  Public  opinion  assumes  the  role  of  critic  at  one  point  in 
the  story  and  undertakes  a  general  discussion  dealing  with  Idaline.  At 
another  time  the  heroine's  motives  and  acts  are  sketched  by  a  lady 
who  is  not  named. 


KARL  GUTZKOW'S  SHORT  STORIES  87 

Eugen  von  Jastrow  keeps  a  diary  in  "Die  Konigin  der  Nacht"  which 
contains  a  number  of  snapshot  character  hints  of  Ladoiska. 

In  "Die  Selbsttaufe"  Wallmuth  expresses  in  a  jocular  manner  his 
preconceived  ideas  of  Gottfried's  appearance  and  bearing.  Sidonie  gives 
a  word  picture  of  Agathe  in  a  similar  way.  This  conversation  of  father 
and  daughter  is  enhghtening  as  much  because  it  reveals  the  attitude  of 
the  speakers  toward  the  ones  whom  they  are  discussing  as  because  by 
it  Gottfried  and  Agathe  are  characterized.  It  occurs  at  the  conclusion 
of  the  reading  of  a  long  letter  wTitten  by  Agathe  in  which  the  writer's 
characterization  of  Gottfried  also  shows  her  own  simplicity  and  natural 
kindliness. 

This  means  of  characterization  is  resorted  to  very  often  in  "Eine 
Phantasieliebe. "  An  excellent  analysis  of  Imagina's  character  is  con- 
tained in  a  letter  written  by  Madame  Milde  to  Imagina's  father.  Ma- 
dame Milde  does  not  appear  actively  in  the  story  at  any  time  but  her 
two  letters  reflect  clearly  her  calm,  practical,  and  yet  sympathetic  atti- 
tude toward  life.  The  conversation  between  Imagina  and  her  husband 
in  which  they  discuss  Feodora  serves  not  only  to  characterize  the  Polish 
countess  but  also  to  disclose  August's  ideals.  The  members  of  the  group 
at  the  resort  discuss  one  another  freely.  Feodora  bitterly  attacks  the 
virtuoso,  the  latter  defends  himself  from  her  innuendoes  and  in  turn 
criticises  Feodora.  In  the  diary  which  Imagina  keeps  Otto  von  Sudburg 
is  the  subject  of  a  romantic  mixture  of  fact  and  fiction. 

"Der  Emporblick"  contains  numerous  cases  of  this  same  means  of 
characterization.  Scharfneck  pronounces  his  judgments  upon  the  lower 
classes  of  society  collectively,  and  also  upon  a  number  of  individuals 
who  belong  to  these  strata.  Ernst  and  Frau  von  Wolmanny  are  likewise 
subjects  of  his  character  sketches.  Ernst  describes  Lude  Wachter,  and 
Ernestine  pictures  the  depravity  of  her  brothers  and  their  associates. 
These  are  a  few  examples  of  the  many  which  might  be  cited  from  his 
story. 

In  "Die  Kurstauben, "  on  the  other  hand,  this  means  is  very  sparingly 
employed.  The  only  instance  of  importance  occurs  when  Herz,  more 
in  jest  than  in  earnest,  characterizes  Leontine  in  the  presence  of  Sancho. 

The  amount  of  such  characterization  in  "Konig  Franz  in  Fontaine- 
bleau"  is  very  small. 

In  "Die  Nihilisten"  it  is  again  important.  Judgments  upon  others 
are  freely  uttered,  often  at  considerable  length.  Since  these  reflect  the 
personal  bias  of  the  speakers  and  reveal  their  sincerity  or  insincerity 
of  purpose,  they  aid  the  reader  in  classifying  the  characters  in  the  novel. 


88  KARL  GUTZKOW'S  SHORT  STORIES 

Thus  Hertha's  intensity  of  feeling  and  depth  of  character,  Constantin's 
conceit  and  superficiaHty,  Frieda's  lack  of  stability,  Ott's  standards  of 
life's  values,  and  Planer's  rugged  strength  are  all  vividly  brought  out 
in  the  estimates  which  they  place  upon  others.  Each  person  of  impor- 
tance criticises  and  becomes  criticised;  in  some  instances  this  occurs 
several  times,  and  the  importance  of  this  exchange  of  opinions  for  the 
characterization  is  great. 

The  minor  characters  in  "Jean  Jacques"  are  viewed  mainly  in  the 
hght  of  the  attitude  which  the  principal  person  in  the  sketch  assumes 
toward  them.  This  attitude,  however,  is  revealed  more  by  the  author's 
analysis  of  the  hero's  thoughts  and  feelings  than  by  the  words  of  the 
latter.     As  applied  to  Jean  Jacques  this  method  is  of  little  importance. 

In  "Der  Pfefifer-Matthes  "  the  chief  character  is  the  subject  of  sketch- 
es by  the  doctor,  his  wife,  and  the  relater  of  the  whole  incident,  who  in 
this  instance  is  represented  by  the  pronoun  of  the  first  person  singular, 
an  unusual  proceeding  for  Gutzkow. 

"Die  Diakonissin"  contains  long  accounts  of  several  of  the  characters 
narrated  by  other  persons.  Freydank  rehearses  the  history  of  VVolmar, 
Artner  and  Constanze.  He  also  comments  freely  upon  the  members 
of  the  Wisthaler  family.  Constanze  records  not  only  her  impressions 
of  deaconess  life  but  also  to  a  less  extent  her  estimates  of  her  friends  in 
the  diary.  The  characterization  which  she  thus  suppUes  is  generally 
correct  and  is  also  sympathetic  and  discerning. 

Since  "Ein  Lebensloos"  is  limited  to  one  character  this  means  is 
not  available.  The  Holzenbauer  and  Speidle  are  judged  by  public 
opinion  and  their  own  consciences  in  "  Aus  dem  Schwabenland. " 

In  "Das  Opfer"  the  letters  of  Hugo  Ellrich  to  Gabriele  contain  the 
only  long  examples  of  this  means  of  characterization.  The  opinions 
which  are  expressed  in  these  are  tinged  with  the  enthusiasm  of  youth 
and  love  and  help  to  increase  the  poetical  effect  of  the  story. 

A  liberal  use  of  the  opinions  of  others  for  purposes  of  characterization 
is  made  in  "Das  Johannesfeuer. "  Thus  Ottilie  and  Frau  Munde  freely 
discuss  Rother,  and  Rother  and  Hipler  do  the  same  with  regard  to  the 
former  two.  As  usual  these  conversations  serve  the  double  purpose 
of  characterizing  both  speaker  and  the  subject  of  the  conversation. 

In  "Der  Werwolf"  this  means  is  comparatively  unimportant.  The 
opinions  of  the  characters  concerning  one  another  are  told  generally 
through  the  medium  of  the  author  and  not  directly. 


KARL  GUTZKOW'S  SHORT  STORIES  89 

The  preceding  study  shows  that  Gutzkow  employs  a  wide  range  of 
means  of  characterization.  External  features  such  as  physical  attri- 
butes, dress,  and  general  bearing,  as  well  as  characteristics  not  visible 
to  the  eye  but  revealed  through  the  agency  of  the  character  sketch,  minor 
actions,  contrasts  with  other  characters,  peculiarities  of  speech,  and  judg- 
ments of  the  characters  upon  one  another,  contribute  to  the  total  im- 
pression which  is  presented  to  the  reader  as  a  character  in  the  short 
stories. 

From  the  earliest  of  these  tales  until  the  latest  the  use  of  external 
appearances  to  aid  in  the  characterization  is  found.  The  extent  of 
description  so  given  varies  from  a  few  conventional  strokes  to  a  portrait 
including  many  details.  There  seems  to  be  no  connection  between  the 
time  of  the  writing  of  any  of  these  stories  and  the  amount  or  character 
of  such  delineations  since  striking  differences  may  be  seen  in  stories 
appearing  in  the  same  year.  The  longer  descriptions  are  usually  found 
in  the  longer  stories.  Many  of  the  shorter  ones  lack  such  detail  almost 
entirely. 

Long  character  sketches  occur  only  rarely,  but  short,  direct  charac- 
terizations are  numerous,  as  are  also  psychological  analyses  of  the  charac- 
ters. A  single,  definite  characteristic  often  serves  to  mark  an  individual 
apart  from  his  fellows. 

Minor  actions  and  situations  of  importance  for  purposes  of  characteri- 
zation occur  frequently  except  in  the  shorter  stories,  where  the  main 
action  usually  absorbs  the  whole  of  the  narrative. 

The  use  of  contrast  as  an  element  in  characterization  occurs  to  some 
extent  in  nearly  all  of  the  stories  and  is  especially  prominent  in  "Der 
Sadduzaer  von  Amsterdam,"  "Die  Selbsttaufe, "  "Eine  Phantasieliebe, " 
and  "Die  NihiHsten." 

Speech  peculiarities  are  used  frequently.  These  consist  generally 
of  stereotyped  phrases,  favorite  by-words,  and  the  like.  An  elevated 
or  a  humorous  style  is  sometimes  characteristic  of  certain  persons. 
Dialect  is  very  rarely  employed. 

Characterization  by  means  of  opinions  rendered  by  others  is  a  com- 
mon and  effective  means.  It  is  found  in  all  but  a  few  of  the  shortest  of 
the  stories.  These  judgments  are  usually  pronounced  by  the  persons 
themselves.  Occasionally,  however,  the  author  states  such  opinions 
instead  of  having  the  characters  express  them. 


CHAPTER  XI 

Environment 

A  definite  geographical  location  for  the  action  of  Gutzkow's  short 
stories  is  not  given  in  every  case.  Thus  the  events  of  "  Die  Wellenbraut, " 
"Die  Selbsttaufe, "  "Das  Opfer, "  and  "Das  Johannesf euer "  take  place 
in  city  or  rural  curroundings  or  in  both,  but  the  exact  location  is  not 
set  down.  That  they  occur  inside  of  a  German  environment  is  evident 
but  the  scene  is  of  the  same  degree  of  definiteness  as  the  much  employed 
"residence"  of  the  novels  of  that  time.  Except  for  the  very  general 
bits  of  description  which  serve  to  indicate  city  life  or  country  life  no 
attempt  at  exact  location  is  made. 

Others  of  Gutzkow's  stories  take  place  in  parts  of  Germany  which 
are  named  and  briefly  described.  Thus  "Die  Schauspieler  vom  Ham- 
burger Berge,"  "Eine  Phantasieliebe, "  "Der  Emporblick,"  and  "Aus 
dem  Schwabenland "  are  given  a  "local  habitation."  The  commercial 
port  of  Hamburg  with  its  busy  wharves  and  its  carnival  grounds  is  a 
section  of  Hfe  faithfully  depicted.  The  Silesian  hills,  mines,  and  the 
peasants  of  this  province,  form  a  background  for  the  "PhantasieHebe, " 
a  background  not  very  clearly  defined  but  nevertheless  present  and  in 
keeping  with  the  type  of  story.  In  the  "Emporblick"  as  in  the  author's 
"Ritter  vom  Geiste"  the  life  of  Berlin  with  its  shades  and  shadows  is 
not  to  be  disguised.  The  scene  of  "Aus  dem  Schwabenland"  is  laid 
in  a  village  of  southern  Germany.  Characteristics  only  are  given  which 
are  of  general  or  t>pical  value.  Careful,  minute,  painstaking  description 
of  the  kind  undertaken  by  the  naturahsts  in  not  attempted.  What 
details  are  given  are  realistic  but  not  directly  copied. 

In  several  instances  scenes  are  laid  in  foreign  countries.  The  "Sad- 
duzaer  von  Amsterdam"  is  located  in  Holland,  in  Amsterdam  and 
adjacent  country,  "Arabella"  in  England  and  upon  the  continent  as 
well,  Italy  is  the  scene  of  the  concluding  events  in  the  "Phantasieliebe," 
Paris  is  three  times  so  used,  in  "Der  Prinz  von  Madagascar,"  "Konig 
Franz  in  Fontainebleau "  and  in  Jean  Jacques."  Tropical  lands  are 
twice  the  place  of  action,  once  in  the  very  early  "Prinz  von  Madagascar" 
and  again  in  "Die  Diakonissin"  of  a  much  later  period.  African  and 
Dutch  East  Indian  conditions  are  contrasted  with  European  civilization 
and  culture.  In  the  use  of  foreign  lands  as  places  in  which  to  locate 
the  events  of  his  novels  Gutzkow's  technique  is  similar  to  that  in  those 
which  have  a  German  environment.  The  general  and  t)^ical  is  employed 
rather  than  the  specific  and  long  detailed. 


KARL  GUTZKOW'S  SHORT  STORIES  91 

Uncivilized  races  are  to  be  found  but  twice  in  the  short  stories  and 
in  neither  case  is  the  treatment  accorded  them  very  copious.  The 
natives  of  the  "Prinz  von  Madagascar"  are  wild,  untutored  savages. 
Nevertheless  one  sees  in  them  a  satire  upon  the  culture  of  the  Europeans. 
As  has  been  pointed  out  before,  the  social  organization  of  these  primitive 
people  is  an  exaggeration  of  some  ill-balanced  features  of  Caucasian 
civilization.  Frankness,  originality,  or  faithfulness  of  treatment  in 
depicting  a  lower  race  is  not  to  be  found.  The  author's  inexperience 
and  the  satirical  motive  with  which  he  wrote  both  serve  to  explain  this 
lack.  In  "Die  Diakonissin"  the  natives  of  the  island  of  Java  appear 
only  incidentally.  They  are  servants  and  slaves  of  the  Dutch  military 
authorities  or  else  tribes  of  savages  to  be  kept  in  submission  to  the  higher 
race  or  exploited  for  the  benefit  of  the  whites.  None  appear  as  indi- 
viduals. 

Descriptions  of  landscape  features,  natural  phenomena,  architectural 
effects  and  such  appearances  occupy  a  relatively  small  space.  They 
are  generally  purely  conventional  and  serve  only  to  provide  a  knowledge 
of  the  surroundings  sufificient  to  enable  the  reader  to  understand  the 
action  and  to  render  the  events  probable.  Occasionally  the  description 
is  made  to  harmonize  with  and  emphasize  the  mood  of  a  character,  to 
produce  a  distinct  atmosphere  and  bring  about  a  psychological  effect. 
Thus  in  the  "Sadduzaer  von  Amsterdam"  the  lovers  meet  in  a  beautiful 
garden  during  the  quiet  of  a  cheerful  day  and  exchange  their  confidences. 
The  fearful  shock  caused  by  the  pronouncing  of  the  ban  upon  Uriel  comes 
at  sunset  when  dusk  is  falling.  Uriel's  return  to  Judith  and  the  former 
happy  condition  occurs  on  a  day  when  nature  is  in  a  most  tranquil  mood. 
A  similar  accord  between  nature  and  the  struggle  in  the  soul  of  Uriel 
is  maintained  throughout. 

In  "Die  Wellenbraut"  the  unison  of  nature  and  the  action  of  the 
characters  is  not  so  carefully  preserved,  but  the  meeting  of  Idaline  and 
Theobald  on  the  gondola  trip  on  a  calm,  moonlight  night  is  a  part  of  this 
technique.  In  "Die  Selbsttaufe"  the  lyric  note  is  distinctly  struck. 
The  day  which  is  to  prove  so  bitterly  disappointing  to  Agathe  is  ushered 
in  raw,  cold  and  rainy.  Agathe,  cheerful,  unsuspecting,  full  of  love  and 
confidence,  contrasts  strongly  with  the  external  disagreeable  surround- 
ings. The  reader  has  a  premonition  of  what  is  to  happen,  Agathe  has 
not,  and  the  sympathy  aroused  for  her  is  greatly  intensified  by  this 
touch  of  atmosphere. 

The  best  example  of  the  use  of  natural  surroundings  to  produce  at- 
mosphere and  form  an  efi'ective  setting  is  the  opening  chapter  of  "Die 


92  KARL  GUTZKOW'S  SHORT  STORIES 

Diakonissin. "  The  quiet  moonlight  night  of  the  tropics  which  seems 
to  breathe  the  air  of  perfect  innocence  and  peace  and  to  be  symboUca  1 
of  an  all-pervading  harmony  throughout  the  universe  becomes  suddenly 
the  scene  of  a  tragedy  whose  effects  are  felt  by  many  in  a  distant  portion 
of  the  world  for  several  decades.  The  pistol  shot  which  in  the  novel 
accomplishes  this  is  almost  as  starthng  to  the  reader  as  to  the  one  who  is 
a  witness  of  it  in  the  story.  The  contrast  thus  introduced  is  extremely 
effective.  From  this  moment  until  the  end  of  the  story  is  reached  there 
is  a  constant  interplay  of  forces  and  persons  that  have  been  set  in  m.otion 
by  this  one  apparently  insignificant  occurrence. 

A  definite  chronological  setting  for  many  of  the  short  stories  is  lacking. 
The  events  in  them  might  occur  at  almost  any  time  in  the  nineteenth 
century  or  the  latter  part  of  the  eighteenth.  Occasionally  the  mention  of 
som.e  means  of  travel  as  the  railroad  or  of  some  modern  industrial  phase 
as  the  factory  system  serves  to  limit  to  some  extent  the  time  of  the  events 
related.  Thus  "Eine  Phantasieliebe, "  "Der  Emporblick, "  "Die  Kur- 
stauben,"  and  "Die  Diakonissin"  have  no  definitely  stated  time  when 
the  events  described  are  said  to  have  taken  place,  but  in  each  the  features 
of  modern  industry  and  transportation  would  indicate  that  the  industrial 
revolution  was  then  already  completed  or  else  well  under  way.  In 
these  stories  and  also  in  "Seraphine,"  "Die  Wellenbraut, "  "Die  Selbst- 
taufe,"  "Das  Opfer, "  and  "Das  Johannesfeuer, "  the  reader  might  well 
imagine  that  the  actions  described  were  those  of  contemporaries 

The  few  which  lay  claim  to  a  particular  place  chronologically  are 
"Der  Sadduzaer  von  Amsterdam,"  "Konig  Franz  in  Fontainebleau, " 
"Die  Nihilisten,"  "Jean  Jacques,"  and  "Der  Werwolf."  The  first  of 
these  is  located  in  the  first  half  of  the  seventeenth  century.  Gutzkow's 
source  for  this  novelette  appears  to  have  been  Llorentes'  "Geschichte 
der  spanischen  Inquisition"  which  contains  the  autobiography  of  Uriel 
Acosta,  "Urielis  exemplar  humanae  vitae."  Here  the  historical  data 
lay  ready  to  hand.  The  problem,  however,  is  not  Umited  to  any  age, 
but  is  universal. 

The  reign  of  the  Emperor  Charles  V  is  the  time  of  "Konig  Franz  in 
Fontainebleau."  The  jealousies  of  France  and  of  the  Holy  Roman 
Empire  are  briefly  alluded  to,  the  king  is  a  knight  of  the  days  of  chivalry, 
and  beauty  and  manly  strength  are  personified  in  the  two  lovers.  The 
sketch  possesses  a  tranquillity  and  an  aloofness  from  the  rush  and  bustle 
of  modern  times  which  is  charming. 

Very  different  from  this  is  "Die  Nihihsten,"  which  was  written 
shortly  after  the  epoch-making  events  of  the  revolution  of  1848  and  which 


KARL  GUTZKOW'S  SHORT  STORIES  93 

presents  a  picture  of  those  troublous  times.  It  fairly  bristles  with  sug- 
gestions of  the  great  questions  which  at  that  period  agitated  men's 
souls.  The  repression  exercised  by  the  governing  circles,  their  strenuous 
attempts  to  suppress  freedom  of  discussion,  to  uphold  privilege  and 
"vested  interests,"  to  borrow  a  modern  term,  to  conserve  authority  in 
the  landed  and  noble  classes,  the  fear  and  suspicion  of  the  liberalism  of 
university  circles,  all  tendencies  which  characterized  the  days  before  the 
March  revolution  in  Germany,  the  period  of  Metternich's  supremacy  in 
European  statecraft,  are  present  in  the  "NihiHsten."  The  revolution 
itself  is  portrayed  in  its  overwhelming  power  upon  the  minds  of  men. 
The  universal  desire  for  the  common  good  of  the  whole  nation  makes 
heroes  of  all.  Each  stands  in  awe  before  the  irresistible  onrush  of  events. 
"Man  must  be  silent  when  the  century  speaks"  says  the  author  in  de- 
scribing the  far-reaching  effects  of  this  titanic  upheaval  of  primitive 
forces.  Changes  of  ministry  occur  with  a  frequency  which  is  startling. 
Men's  lives  are  tested  to  the  very  core  and  in  many  cases  radically 
altered.  It  is  a  milieu  of  forces  long  held  in  restraint  suddenly  let  loose 
without  proper  guidance,  a  struggle  of  the  blind  to  lead  the  blind.  Then 
comes  the  inevitable  relaxation  and  conditions  slip  back  largely  into 
the  old  ruts,  but  the  memory  of  the  past  revolt  and  its  chaos  remains 
to  prevent  the  re-establishment  of  the  tyranny  of  the  previous  regime. 
The  same  hopefulness  and  confident  belief  in  the  final  triumph  of  liberal 
principles  and  the  progress  of  humanity  toward  a  higher  goal  which 
Gutzkow  expresses  in  his  "Ritter  vom  Geiste, "  he  also  shows  here. 
Each  effort  brings  success  a  little  nearer. 

In  "Jean  Jacques"  Rousseau's  life  is  treated  from  the  year  1750 
until  his  death.  The  historical  coloring  is  of  less  importance  than  the 
personal  relations  which  he  sustains  to  those  around  him.  The  group  of 
learned  men,  such  as  D'Alembert  and  Grimm,  who  were  among  the 
intellectual  leaders  of  the  day,  play  a  minor  part  in  the  story.  The  period 
as  such  is  of  no  great  consideration. 

The  "  WerwoK, "  on  the  other  hand,  the  events  of  which  center  around 
the  meeting  of  the  reichstag  in  1582,  owes  much  of  its  charm  to  its 
historical  background.  Kaiser  Rudolf  the  Second,  his  retainers,  his 
personal  bodyguard,  the  financial  embarrassments  of  the  sovereign,  the 
broils  between  the  citizens  and  the  soldiers,  these  are  elements  of  a 
richly  colored  social  organization  which  had  come  down  through  the  later 
middle  ages  and  projected  its  shadow  into  modern  times,  feudahsm  and 
the  Holy  Roman  Empire.  The  contrast  which  existed  between  the  life 
of  the  imperial  court  with  its  varied  activities  and  its  intrigues,  and  the 


94  KARL  GUTZKOW'S  SHORT  STORIES 

life  of  the  simple  country  squire  which  lacked  all  of  these  is  suggestively 
portrayed.  Amid  the  confusion  of  the  picture  afforded  by  the  gathering 
of  the  Reichstag  in  the  city  of  Augsburg  the  love  story  of  Sigmund  and 
Placida  flows  quietly  along,  a  refreshing  contrast. 

The  social  milieu  presented  is  wide  and  varied.  The  range  of  society 
which  is  represented  extends  from  the  highest  ofi&cial  circles  to  the 
criminal  classes,  includes  city  dwellers  and  country  peasant,  professional 
classes  and  industrial  workers,  the  high  and  the  low,  the  rich  and  the 
poor.  To  a  large  degree  the  whole  gamut  of  social  relationships  is  run, 
though  not  all,  naturally,  are  taken  up  with  equal  thoroughness  of  detail 
and  sympathy  of  treatment. 

The  state  in  one  form  or  another,  through  its  higher  executive  officials, 
its  courts,  its  ofi&cers  of  the  law  either  civil  or  military,  or  by  its  attitude 
toward  political  questions  is  an  element  of  importance  in  several  of  these 
stories.  In  the  "Prinz  von  Madagascar"  Hippolyt  is  a  lieutenant  in  the 
French  army  who  resigns  his  commission  in  order  to  engage  in  his  adven- 
turous attempt.  The  home  government  figures  only  negatively  in  that 
it  declines  to  render  aid  to  the  pretender  to  the  throne  of  Madagascar. 
The  colonial  government  at  St.  Mary's  is  the  subject  of  caricature  in 
the  persons  of  its  officials.  No  serious  part  is  assigned  to  the  state  or 
to  its  agents. 

In  "Seraphine"  Arthur  Stahl  is  a  government  clerk,  Edmund  von 
Oppen  is  the  minister  of  foreign  affairs,  Herr  von  Magnus  is  the  prime 
minister,  and  the  Israelite  is  a  spy  and  a  paid  publicist  for  the  govern- 
ment. Liberal  political  principles  are  presented  and  their  followers, 
represented  in  this  instance  by  Minister  von  Magnus,  are  dismissed  from 
office.     The  state  is  reactionary,  a  reflex  of  the  contemporary  conditions. 

"Die  Wellenbraut "  illustrates  very  similar  tendencies  in  the  policies 
of  state.  The  official  circles  are  composed  of  men  of  noble  rank  and 
extremely  conservative  principles,  jealous  of  their  class  privileges,  opposed 
to  changes  favoring  democracy;  Theobald  has  been  the  victim  of  this 
governmental  reaction  and  has  served  a  sentence  of  several  years'  im- 
prisonment on  account  of  his  poUtical  activities.  Renewed  pressure  of 
public  opinion  suffices  in  this  story  to  bring  about  a  change  of  cabinet 
which  while  not  openly  pledged  to  liberal  principles  is  distinctly  less 
conservative. 

In  "Die  Konigin  der  Nacht"  the  state  as  a  poUtical  or  governing 
body  plays  no  part  although  its  authority  is  represented  by  the  prince 
and  to  a  lesser  degree  by  Jastrow,  the  second  lieutenant. 


KARL  GUTZKOW'S  SHORT  STORIES  95 

In  "Die  Selbsttaufe"  Ottfried  and  his  friend,  Graf  Schonburgh,  enter 
the  diplomatic  service.  The  Landrath  von  Unruh  and  Fritz,  as  sheriff 
and  gendarme  respectively,  are  representatives  of  the  law  and  preservers 
of  order  in  "Eine  Phantasieliebe. "  The  detection  of  crime  and  the 
administration  of  justice  are  the  functions  of  the  state  in  "Der  Empor- 
blick. "  The  king  in  "Konig  Franz  in  Fontainebleau  "  is  the  personifica- 
tion of  the  absolute  monarchy  of  an  enlightened  type.  The  position  of 
the  government  in  "Die  Nihilisten"  has  already  been  discussed  in  this 
chapter.  Its  position  in  this  novel  is  much  more  imposing  than  in  any 
other  of  the  short  stories. 

Governmental  activity  in  the  "  Diakonissin "  is  limited  to  the  use  of 
its  military  service  for  extending  and  safeguarding  its  colonial  posse- 
sions. In  "Aus  dem  Schwabenland  "  it  is  again  as  the  representative  of 
law  and  order  and  the  punisher  of  crime  that  the  state  appears,  and  in 
"Das  Johannesfeuer "  the  state  through  its  attorney,  Heinrich  Rother, 
sues  for  the  recovery  of  some  of  its  property.  In  "Der  Werwolf"  the 
emperor  and  the  imperial  diet  represent  the  government  of  the  Holy 
Roman  Empire.  However  as  an  active,  operative  force  the  state  does 
not  enter.  Rather  its  function  is  to  furnish  a  more  than  ordinarily  sug- 
gestive background  for  the  action  proper. 

The  drawing-room  of  fashionable  society,  the  salon,  is  frequently  the 
environment  in  which  the  incidents  in  the  short  stories  occur.  The  kind 
of  life  which  was  lived  in  such  circles  Gutzkow  knew  well  how  to  describe 
and  earlier  and  later  works  alike  make  use  of  this  social  sphere. 

In  the  "Prinz  von  Madagascar"  and  in  " Kanarienvogels  Liebe  und 
Leid"  the  tendency  in  keeping  with  the  general  tone  of  both  productions 
is  to  treat  society  satirically  and  to  expose  its  foibles  and  positive  evils. 
Similarly  in  "Seraphine"  the  petty  strivings  and  intrigues  of  Arthur  and 
Edmund  in  their  endeavor  to  curry  favor  with  Frau  von  Magnus  and  the 
latter's  strongly  marked  personal  vanity  do  not  present  polite  society 
in  a  favorable  light. 

In  "Arabella"  and  "Das  Stelldichein "  the  characters  belong  to  the 
nobility.  The  atmosphere  of  the  ball  room  prevails  in  the  one,  the  other 
is  a  domestic  scene.  No  prejudice  or  favor  on  account  of  social  standing 
is  expressed  in  either. 

Those  of  noble  rank  in  "Die  Wellenbraut "  are  persons  of  intelligence 
and  worth  but  possessed  of  a  distinct  class  consciousness.  They  move 
in  a  world  whose  background  consists  largely  of  luxury  and  wealth.  The 
surroundings  are  those  of  the  reception  rooms  of  the  rich,  private  art 
galleries,  and  carefully  cultivated  country  estates.     The  environment 


96  KARL  GUTZKOW'S  SHORT  STORIES 

in  "Die  Konigin  der  Nacht"  is  the  conventional  environment  of  the  ruler 
of  the  small  principality. 

"Die  Selbsttaufe"  paints  a  milieu  in  which  rank,  wealth  and  refine- 
ment are  not  unmixed  with  selfishness,  desire  for  adulation  and  actual 
cruelty.  The  hght  and  the  dark  side  of  family  life  in  the  home  of  the 
rich  is  exhibited.  "Eine  Phantasiehebe "  describes  another  phase  of 
"high  society,"  the  life  at  fashionable  resorts  where  moral  standards 
are  permitted  to  become  lowered  and  real  virtue  is  at  a  premium.  A 
constant  round  of  picnics,  entertainments  of  all  sorts,  flirtations,  gamb- 
ling and  the  like  make  up  the  program  of  the  patrons  of  these  pleasure 
and  health  resorts. 

Of  a  more  intellectually  stimulating  nature  are  the  diversions  of  the 
group  who  in  "Der  Emporblick"  gather  in  Frau  von  Wolmanny's  cul- 
tured home  for  literary  refreshment.  The  relation  of  the  various  classes 
of  society  to  one  another  is  emphasized  strongly,  as  has  already  been 
pointed  out,  in  this  study.  Both  the  higher  and  the  lower  classes  are 
treated  sympathetically  and  with  insight. 

In  "  Die  Nihilisten  "  private  conversations  and  more  formal  receptions 
are  an  aid  in  defining  the  characters  of  the  persons  concerned.  The 
circle  of  the  rich  and  cultured  in  "Jean  Jacques"  is  made  up  of  many  who 
desire  to  appear  as  patrons  of  learning  and  thereby  to  acquire  in  some 
measure  a  position  among  the  learned  themselves.  The  tendency  of 
this  class  to  take  up  with  fads  is  mildly  satirized. 

The  ballroom  is  again  the  scene  of  social  activity  in  "  Die  Diakonis- 
sin. "  The  manifold  obligations  and  distractions  of  the  holders  of  wealth 
as  well  as  their  amusements  are  described,  the  daily  routine  of  the  women 
of  this  class  is  detailed,  and  the  overestimation  which  they  place  upon 
social  duties  is  slightly  criticized.  "Das  Johannesf euer "  possesses  the 
conventional  background  of  the  leisured  middle  class  where  the  necessity 
for  entertainment  rather  than  the  struggle  for  existence  absorbs  attention. 

The  professions  which  are  represented  are  those  of  law,  medicine, 
and  teaching.  In  "Der  Emporblick"  Ernst  Oswald  and  his  friend 
Scharfneck  are  members  of  the  legal  profession  and  the  latter  appears 
actively  in  the  pursuit  of  his  calling.  Court-room  scenes  are  introduced 
and  an  air  of  realism  results  from  this.  In  "Die  NihiUsten"  Eberhard 
Ott,  Constantin  Ulrichs  and  Geheimrath  WingoK  are  practitioners  in 
law.  Here  and  in  "Der  Emporblick"  the  lawyer  appears  in  his  capacity 
as  advocate,  in  "Die  Diakonissin"  Freydank  is  a  trustee,  guardian  and 
adviser  for  his  clients  in  civil  rather  than  in  criminal  practice. 


KASL  GUTZKOW'S  SHORT  STORIES  97 

The  doctor  appears  in  two  stories,  "Der  Pfeffer-Matthes, "  and 
"Die  Diakonissin. "  The  first  of  these  shows  him  as  the  head  of  a 
hospital  for  the  insane,  the  second  traces  in  detailed  and  sympathetic 
fashion  the  years  spent  by  a  young  doctor  in  his  efforts  to  secure  a  prac- 
tice, treats  these  as  typical  of  the  struggles  of  a  class,  and  shows  a  keen 
appreciation  of  the  service  rendered  by  the  medical  profession  to  human- 
ity. 

The  first  study  presented  of  the  schoolman,  Polyglotte  in  "Der 
Prinz  von  Madagascar,"  is  intentionally  a  caricature.  In  "Seraphine" 
the  school  atmosphere  is  also  that  of  pedantry  and  artificial  learning. 
Here  and  in  "Eine  Phantasieliebe  "  it  is  the  boarding  school  which  is  the 
educational  institution.  The  former  is  not  a  serious  treatment,  the  latter 
introduces  Madame  Milde  as  an  exponent  of  good  pedagogical  methods. 
University  circles  as  centres  of  academic  freedom  and  also  of  liberal 
views  generally  is  the  impression  conveyed  by  the  account  given  of  the 
university  in  "  Die  Nihilisten. " 

Gutzkow's  views  upon  education  in  general  are  found  expressed 
in  his  long  novel  "  Blasedow  und  seine  Sohne. "  He  opposed  specializa- 
tion and  advocated  in  its  stead  the  all-round  development  of  the  indivi- 
dual.    For  this  ideal  he  fought  throughout  this  whole  life. 

Institutions  of  a  pubhc  or  a  semi-pubhc  character  appear  twice  as 
elements  of  the  environment.  In  "Der  Pfeffer-Matthes "  an  asylum 
for  the  insane  is  the  natural  background  for  the  detailed  account  of  a 
hypochondriac's  mania  and  its  origin.  In  "  Die  Diakonissin  "  the  somber, 
somewhat  depressing  atmosphere  of  a  Protestant  deaconess  hospital 
gives  a  serious  purpose  to  the  story  and  hnks  it  more  closely  to  life. 
Religion  and  the  art  of  healing  work  hand  in  hand,  a  union  not  altogether 
approved  by  Gutzkow  who  highly  commends  the  philanthropic  features 
of  this  sort  of  enterprise  but  dislikes  the  zeal  manifested  for  proselyting. 
The  orderly,  well-regulated  existence  of  the  inmates  of  such  establish- 
ments and  the  various  aspects  of  their  occupation  are  clearly  depicted. 

The  criminal  class  of  the  large  city  is  to  be  seen  at  close  range  in 
"Der  Emporblick"  and  in  "Jean  Jacques."  The  wickedness  and  vice 
which  are  today  associated  with  certain  quarters  of  our  metropolitan 
centres  are  shown  as  already  flourishing  institutions.  In  "Jean  Jacques  " 
ignorance,  deception,  petty  thievery,  and  gross  immorality  go  hand  in 
hand.  Rousseau  is  a  victim  of  his  environment  as  well  of  his  sophistry. 
He  commits  no  offense  himself  but  is  unable  to  rise  above  the  low  plane 
in  which  circumstances  have  placed  him. 


98  KARL  GUTZKOW'S  SHORT  STORIES 

In  "Der  Emporblick"  the  criminal  element  roots  itself  as  in  "Jean 
Jacques"  in  the  poverty-stricken  and  uneducated  masses,  but  also  has 
its  connections  with  the  vicious  and  their  supporters  who  are  to  be  found 
at  the  other  end  of  the  social  ladder.  Violations  of  the  moral  code  both 
flagrant  and  secret  are  revealed.  Evil  is  pitilessly  exposed.  The  ar- 
raignment is  not  couched  in  the  statistical  manner  of  a  vice  commis- 
sioner's report  of  the  present  day,  nor  are  unsavory  details  introduced 
and  discussed  with  the  unconcern  which  attends  a  surgical  dissection, 
nevertheless  the  same  background  is  readily  supplied  by  the  reader 
and  the  description  of  conditions  is  no  less  true  and  impressive.  Theft, 
blackmail,  forgery,  immorality,  murder,  are  a  part  of  this  underworld. 
Gutzkow  does  not,  however,  leave  the  reader  with  a  pessimistic,  dis- 
couraging view.  Even  for  the  miserable  "submerged  tenth"  he  finds 
hope.  This  lies  in  the  abihty  to  rise  above  environment,  and  is  illus- 
trated in  Ernestine  Waldmann,  who  lifts  herself  by  her  own  efforts 
against  fearful  odds  to  a  position  where  she  is  morally,  intellectually, 
and  spiritually  the  equal  of  the  so-called  upper  classes.  Here  in  "Der 
Emporblick, "  in  the  field  of  social  progress  and  world  uplift,  he  preaches 
again  the  same  message  of  final  victory  which  he  proclaims  in  "Die 
Nihihsten"  to  those  who  are  struggling  for  political  betterment.  In 
"Die  Ritter  vom  Geiste"  he  combines  both  messages. 

Instances  of  less  importance  in  which  crime  is  a  factor  occur  in 
"Seraphine"  where  Philipp  is  convicted  of  poaching  and  suffers  a  term 
of  imprisonment,  and  in  "Aus  dem  Schwabenland "  where  Speidle 
pursues  the  thief  Jackl. 

In  Gutzkow's  stories  the  criminal  usually,  although  not  always, 
has  to  expiate  his  crimes.  Much  as  in  actual  Ufe  the  clever  criminal, 
or  the  one  best  able  to  conceal  his  tracks,  or  the  one  with  some  sort  of 
influential  connections  escapes,  so  in  these  stories.  The  influence  of 
this  sort  of  environment  is  admitted  by  the  author  to  be  very  great  but 
he  does  not  find  it  insurmountable. 

Village  Hfe  is  treated  in  two  instances,  once  in  "Seraphine,"  where 
it  is  but  one  of  the  many  elements  of  the  novelette,  and  again  in  "Aus 
dem  Schwabenland,"  where  it  is  the  entire  setting.  The  antagonism 
of  peasant  and  village  dweller  is  present  in  the  latter.  The  strife  of 
the  brothers,  Philipp  and  Ferdinand,  rather  than  any  feature,  specifically 
due  to  the  village  setting,  is  the  theme  of  the  former. 

In  "Der  Sadduzaer  von  Amsterdam"  and  in  "Die  Kurstaube"  the 
surroundings  are  Jewish.     The  home  life  is  well  and  sympathetically 


KARL  GUTZKOW'S  SHORT  STORIES  99 

described.  The  isolation  of  the  Jews  as  a  class  and  their  close  inter-de- 
pendence is  indicated.  The  synagogue  and  the  home  form  the  back- 
ground in  the  former  story,  the  counting  house  and  the  home  the 
background  in  the  latter.  An  intimate  knowledge  of  the  Jewish  milieu 
is  evident  from  the  two  stories. 

A  pathological  element  is  introduced  into  the  environment  in  "Der 
PfefTer-Matthes "  and  "Die  Diakonissin. "  The  former  relates  the 
history  of  an  insane  man  and  discusses  the  origin  and  nature  of  his 
malady.  The  latter  describes  a  tropical  disease  in  which  a  parasite 
inhabits  a  man  and  produces  a  fearful,  lingering  illness  for  which  no 
cure  is  known  to  science.  Temporary  insanity,  resulting  from  tropical 
fever  and  accompanied  by  the  loss  of  memory,  is  also  taken  up  in  the 
same  story.  A  cure  is  effected  by  means  of  a  treatment  consisting  of 
a  period  of  quiet  and  retirement  from  all  associations  of  an  exciting 
nature  and  the  gradual  introduction  of  the  elements  and  persons  formerly 
most  closely  in  contact  with  the  patient's  life.  A  similar  restoration 
to  sanity  is  to  be  found  in  Immermann's  "Epigonen,"  in  the  case  of 
Hermann. 

The  environment  in  the  short  stories  is  composed  of  many  elements. 
The  geographical  settings  vary  in  definiteness  from  vague,  undefined 
regions  which  might  be  located  in  any  one  of  numberless  localities  to 
places  distinctly  named  and  well  known.  Both  city  and  country,  home- 
land and  foreign  soil,  are  made  the  scenes  of  action.  The  amount  of 
description  devoted  to  nature  is  small,  but  it  harmonizes  well  with  the 
other  elements.  Conscious  efforts  to  secure  atmosphere  and  to  use 
description  to  heighten  the  effect  of  certain  incidents  are  to  be  found. 

Definite  chronological  settings  are  limited  to  five  of  the  stories.^  The 
historical  coloring  in  three  of  these  is  excellent  and  of  sufficient  value  to 
be  considered  a  motive.^ 

A  wide  range  of  society  is  included.  Rich  and  poor,  nobleman  and 
commoner,  professional  man  and  factory  worker,  city  dweller  and  pea- 
sant, are  represented.  The  state  shows  its  influence  through  a  throng 
of  officials.  Fashionable  society  is  depicted  in  the  drawing  room,  at 
pleasure  resorts,  and  on  country  estates.  Both  family  life  and  the 
struggle  for  existence  outside  of  the  home  are  a  part  of  the  picture.     Law, 

'The  five  stories  are  "Der  Sadduzaer  von  Amsterdam,"  "Konig  Franz  in  Fon- 
tainebleau,"  "Die  Nihilisten, "  "Jean  Jacques,"  and  "Der  Werwolf." 

2 The  three  are  "Konig  Franz  in  Fontainebleau, "  "Die  Nihilisten,"  and  "Der 
Werwolf." 


100  KARL  GUTZKOW'S  SHORT  STORIES 

medicine,  teaching,  and  the  stage  contribute  to  give  a  coloring  of  pro- 
fessional atmosphere.  Commerce  and  industry  aid  in  the  formation 
of  a  background  and  such  interests  sometimes  supply  the  dominating 
motives.  Virtue  and  crime  exist  side  by  side  as  so  often  is  the  case 
in  real  life.  The  public  institution  is  inteUigently  described  and  con- 
ditions in  the  village  are  sympathetically  treated. 

In  presenting  this  milieu  Gutzkow  is  sufficiently  definite  in  the  amount 
and  character  of  the  details  which  he  gives  to  lend  an  air  of  reality  to 
his  descriptions.  His  characters  move  in  a  world  that  actually  exists 
and  is  not  a  product  of  fancy.  The  reader  feels  that  the  events  which 
occur  and  the  motives  which  prompt  them  are  reasonable.  To  that 
extent  Gutzkow  is  a  realist.  He  does  not  go  to  the  extreme,  however, 
that  the  naturalists  represent.  He  does  not  attempt  to  reproduce  all 
the  details  of  the  environment  in  which  he  places  his  characters.  He 
selects  enough  to  produce  an  impression  of  reality  and  does  not  make 
every  incident  or  character  dependent  upon  environment.  Sometimes 
as  in  "Jean  Jacques"  an  individual  succumbs  to  this  force  and  again, 
as  in  the  case  of  Ernestine  Waldmann  in  "Der  Emporblick"  he  over- 
comes this  influence.  Thus  Gutzkow  takes  a  position  between  realists 
of  the  type  of  Otto  Ludwig  who  use  environment  in  a  symbolic  manner 
and  the  naturalists  who  attempt  to  reproduce  reality  without  selection 
and  make  a  person's  surroundings  determine  the  entire  trend  of  his  life. 


CHAPTER  XII 

Plot 

The  analysis  which  has  thus  far  been  made  of  these  stories  has  not 
undertaken  to  distinguish  clearly  between  the  various  types  as  to  struc- 
ture or  plot.  The  question  of  relative  complexity  of  composition  has 
been  deferred  until  the  phases  of  technical  study  common  to  all  forms 
of  narrative  have  been  considered.  The  point  has  now  been  reached, 
however,  when  it  seems  desirable  to  make  such  a  classification. 

The  word  plot  means,  when  reduced  to  its  simplest  terms,  that  which 
happens  in  a  story.  "It  is  the  management  of  the  continuous  line  of 
action  underlying  the  whole  progress  of  the  story.  It  concerns  the 
sequence  of  events."^  The  etymology  of  the  word  implies  a  weaving 
together,  and  it  is  the  intertwining  of  the  various  threads  of  action, 
the  clashings  of  opposing  forces,  and  the  interrelationships  of  the  char- 
acters within  the  story  that  compHcate  plot.  The  simplest  form  of  plot 
is  that  which  traces  one  individual's  experiences  and  development.  As 
more  characters  are  introduced,  each  possessing  his  own  viewpoint  and 
his  own  modes  of  combating  circumstances,  the  plot  gains  in  complexity. 
Every  increase  of  this  sort  involves  more  skill  upon  the  part  of  the  author 
and  demands  closer  attention  from  the  reader.  In  many  novels  this 
process  is  carried  to  great  lengths  and  an  enormous  number  of  characters 
is  introduced.  Hence  it  follows  that  plot  may  range  from  the  flimsiest 
thread  that  barely  suffices  to  hold  narrative  portions  together  to  a  stout 
network  that  possesses  a  bewildering  confusion  of  strands  and  is  a  most 
conspicuous  part  of  the  story  technique. 

As  compared  with  the  novel,  the  short  story,  the  novelle,  is  limited 
in  the  degree  to  which  it  may  develop  a  complicated  plot.  It  must  pos- 
sess a  definite  central  theme  and  its  structure  is  of  necessity  much 
more  compact.  Nevertheless  it  often  contains  a  number  of  threads 
"of  action  and  concerns  itself  with  the  fate  of  numerous  individuals. 
Many  characters  and  many  conflicting  forces  may  be  present  but  all 
must  contribute  toward  the  unified  impression  which  the  novelle  must 
produce. 

Gutzkow's  short  stories  show  a  considerable  range  with  regard  to 
plot  construction.  In  some  there  is  a  complex,  carefully  constructed 
framework,  whereas  in  others  the  thread  by  which  the  story  is  held 

1  E.  M.  Albright,  The  Short  Story. 


102  KARL  GUTZKOW'S  SHORT  STORIES 

together  is  slight  indeed.  This  variation  in  structure  permits  of  a 
primary  division  which  is  essential  for  this  study,  a  classification  of  the 
stories  into  novellen  and  non-novellen.  It  also  permits  of  a  further 
division  within  these  boundaries.  Thus  the  following  scheme  is  presented 
as  a  classification  based  upon  the  internal  structure  of  these  stories. 

I.  Stories  Not  Included  Among  the  Novellen. 

1.  Sketches — 

(a)Kanarienvogels  Liebe  und  Leid. 

(b)  Schauspieler  vom  Hamburger  Berge. 

(c)  Jean  Jacques. 

(d)  Der  Pfeffer-Mathes. 

(e)  Ein  Lebensloos. 

2.  The  tale — 

(a)  Der  Prinz  von  Madagascar. 

3.  The  novel — 

(a)  Seraphine. 

II.  Novellen — 

/.  Those  containing  a  single  crisis  with  definite  turning  point — 

(a)  Arabella 

(b)  Das  Stelldichein. 

(c)  Kurstauben. 

(d)  Konig  Franz  in  Fontainbleau. 

(e)  Aus  dem  Schwabenland. 

(f)  DasOpfer. 

(g)  Johannesfeuer. 
(h)  Der  Werwolf. 

2.  The  analytic  type — 

(a)  Eine  Phantasieliebe. 

(b)  Die  Konigin  der  Nacht. 

3.  The  dramatic  type — 

(a)  Der  Sadduzaer  von  Amsterdam. 

(b)  Die  Wellenbraut. 

(c)  Die  Selbsttaufe 

4.  Longer  novellen  lacking  dramatic  form   but  possessing  unity  of 

action  or  of  emotional  tone — 

(a)  Der  Emporblick. 

(b)  Die  Nihilisten. 

(c)  Die  Diakonissin. 


KARL  GUTZKOW'S  SHORT  STORIES  103 

The  further  consideration  of  the  structure  of  these  stories  will  be 
taken  up  under  headings  corresponding  to  the  above  classification  and 
in  the  same  order. 

1.  Stories  not  novcllen 
(a)  The  Sketch 

"A  sketch  is  a  lighter,  shorter,  and  more  simple  form  of  fiction  than 
the  short-story.  It  exhibits  character  in  a  certain  stationary  situation, 
but  has  no  plot,  nor  does  it  disclose  anythink  like  a  crisis  from  which  a 
resolution  or  a  denouement  is  demanded.  "^  The  five  stories  which 
have  been  grouped  together  as  sketches  fulfill  the  requirements  of  the 
above  definition.  Action  is  almost  entirely  absent  in  all  of  them  and 
is  outweighed  very  considerably  by  other  elements. 

"  Kanarienvogels  Liebe  und  Leid"  possesses  in  its  setting  and  char- 
acters much  more  important  characteristics  than  the  thin  thread  of 
plot  that  holds  the  one  incident  together  around  which  it  centers.  One 
phase  of  a  life  is  treated.  The  tone  of  the  sketch  is  satirical  and  moral- 
izing 

The  "  Schauspieler  vom  Hamburger  Berge"  is  related  in  the  I-form 
and  acquires  a  certain  unity  from  this  which  the  series  of  incidents  of 
which  it  is  composed  would  otherwise  lack.  The  author  is  represented 
as  a  personal  observer  of  the  scenes  that  he  describes.  He  possesses 
a  very  evident  desire  to  paint  a  depressing  picture  of  stage  life  and  to 
drive  home  a  moral.  The  two  characters,  Albertine  and  Heinrich  M., 
and  the  setting  are  the  foremost  consideration  of  this  bit  of  narrative. 

"Jean  Jacques  "  is  a  much  more  detailed  character  study.  The  author 
is  at  great  pains  to  make  the  psychology  of  his  principal  figure  thoroughly 
understood.  External  incidents  and  mental  reactions  together  with  a 
slight  biographical  thread  unite  in  a  plot  extremely  loose  and  tragic 
in  tone.  The  feeling  of  sadness  and  of  compassion  for  the  hero  is  com- 
municated strongly  to  the  reader.  The  remaining  characters  are  greatly 
subordinated  to  Jean  Jacques. 

The  "Pfeffer-Mathes"  is  short  and  entertaining.  The  somber 
cast  of  the  two  previous  sketches  is  relieved  in  this  by  the  pleasing  domes- 
tic setting.  The  relating  of  the  incident  proper  by  a  character  within 
it  furnishes  a  double  setting  and  two  groups  of  characters. 

"Ein  Lebensloos"  is  a  character  sketch  with  a  moral  appended  as 
in  the  "  Schauspieler  vom  Hamburger  Berge. " 

2  J.  Berg  Easenwein,  Stud>-ing  the  Short-Story. 


104  KARL  GUTZKOW'S  SHORT  STORIES 

(b)  The  Tale 
The  "Prinz  von  Madagascar"  is  the  earhest  of  Gutzkow's  stories. 
It  exhibits  simpHcity  of  plot  and  traces  the  career  of  one  individual. 
In  this  respect  and  as  a  story  of  adventure  it  is  akin  to  such  narratives 
as  those  of  "  Robinson  Crusoe, "  "  Gil  Bias, "  the  Picaresque  novels,  and 
those  tales  of  incident  and  action  generally  which  do  not  possess  plot 
in  the  sense  of  having  problems  to  unravel.  In  all  of  these  the  interest 
lies  in  the  episodes  which  entwine  themselves  around  the  hero.  The 
element  of  mystery,  the  wonder  as  to  what  will  next  occur,  the  marvelous 
exploits  performed  by  various  persons  in  perilous  situations,  the  thrill 
that  comes  from  Hving  through  such  exciting  scenes  with  the  characters, 
rather  than  an  interest  in  psychological  problems,  or  the  desire  for  moral 
teachings,  or  the  presentation  of  human  lives  in  serious  crises,  is  the  mo- 
tive for  the  reading  of  his  type  of  literature.  Thus  in  this  story,  we 
are  concerned  only  with  Hipolyt's  attempt  to  regain  his  throne  and  our 
curiosity  is  piqued  to  discover  what  success  he  will  meet  with  in  his 
quixotic  quest. 

The  manner  of  narration  is  a  straightforward  chronological  order, 
which  is  generally  closely  adhered  to.  One  exception  to  this  occurs 
in  the  introductory  portion  where  the  expository  matter  deahng  with 
Hippolyt's  previous  history  and  his  reasons  for  going  to  Madagascar 
is  reserved  until  after  an  interpreter  for  the  new  language  has  been 
secured. 

Suspense  is  obtained  by  the  use  of  a  number  of  motives  of  a  sensation- 
al character,  as  abduction,  selling  into  slavery,  falling  in  love  with  a  slave 
who  proves  to  be  a  former  princess,  and  daring  escapes  by  flight.  Humor- 
ous speeches  by  various  characters  are  intended  as  well  to  keep  the 
interest  of  the  reader  from  flagging. 

The  situation  which  exists  at  the  end  of  the  story  differs  in  no  im- 
portant particulars  from  that  at  the  beginning.  The  same  strands  of 
life  which  had  been  laid  down  in  Paris  are  again  taken  up.  The  object 
of  the  expedition  remains  unaccomplished.  In  a  few  Hnes  which  are 
definitely  appended  for  that  purpose  and  mechanically  separated  by  a 
dash  from  the  preceding  narrative,  the  future  is  briefly  indicated. 

Neither  action  nor  characters  are  thrilling  or  convincing  in  this 
first  production  of  Gutzkow's,  nevertheless  in  the  ability  which  its 
author  displays  to  write  entertaining  narrative,  to  relate  a  straightfor- 
ward history,  and  to  supply  interesting  if  not  highly  original  incident 
there  is  promise  for  the  future. 


KARL  GUTZKOW'S  SHORT  STORIES  105 

(c)  The  Novel 

"Seraphine"  is  one  of  Gutzkow's  least  successful  attempts  in  narra- 
tive form.  The  general  impression  which  it  produces  is  a  feeling  that  a 
large  amount  of  effort  has  been  misdirected,  that  there  has  been  too  little 
concentration.  The  conviction  is  unavoidable  that  this  is  a  labored, 
artificial  production  for  whose  characters  the  author  possessed  either 
indifference  or  positive  aversion.  Cold  and  critical  in  his  attitude,  he 
fails  to  inspire  enthusiasm  for  this  work.  No  single,  powerful,  cumula- 
tive effect  is  exerted  upon  the  reader  and  this  is  one  reason  for  debarring 
it  from  the  class  of  novellen. 

The  number  of  characters  is  large  and  these  are  arranged  in  groups 
whose  connection  is  not  close.  Seraphine  is  the  one  figure  that  comes 
nearest  to  dominating  the  action  and  she  is  at  times  forced  into  the  back- 
ground by  a  second  female  character,  Frau  von  Magnus,  so  that  even 
this  approach  to  unity  is  marred.  There  is  a  lack  of  close  and  organic 
structure. 

A  diagram  of  the  main  elements  of  the  plot  made  from  the  standpoint 
of  the  heroine  would  be  as  follows:  (1)  Seraphine's  love  episode  with 
Arthur  Stahl;  (2)  Seraphine's  love  episode  with  Edmund  von  Oppen; 
(3)  Seraphine's  love  episode  with  Philipp;  (4)  Seraphine's  love  episode 
with  Herr  von  Magnus;  (5)  Seraphine's  unhappy  married  life. 

A  second  and  almost  equally  justifiable  plot  division  can  be  made 
with  Frau  von  Magnus  as  the  central  character.  Thus:  (1)  Frau  von 
Magnus  and  Arthur  Stahl;  (2)  Frau  von  Magnus  and  Edmund  von 
Oppen;  (3)  Frau  von  Magnus  and  Herr  von  Magnus.  The  latter  out- 
line does  not  include  Philipp  and  to  that  extent  is  less  complete  than  the 
former.  Seraphine  is  included,  however,  because  of  her  connection  with 
the  admirers  of  Frau  von  Magnus. 

The  opening  chapter  of  the  novel  introduces  Seraphine  as  a  teacher 
in  a  private  school.  The  latter  part  of  the  same  chapter  and  the  two 
succeeding  chapters  then  relate  her  history  from  three  different  stand- 
points, those  of  two  former  lovers  and  the  heroine's  private  diary.  From 
this  point  on  the  story  follows  a  chronological  order  and  is  told  from  an 
external  standpoint.  No  one  of  the  characters  occupies  the  foreground 
exclusively  in  this  part  of  the  narrative. 

The  structure,  as  is  evident  from  the  foregoing  statements,  is  loose 
and  episodical.  Furthermore  the  novel  is  burdened  with  an  excess  of 
philosophical  and  political  discussions,  as  well  as  much  theorizing  upon 
inamortaUty,  love,  and  marriage.     It  is  useless  to  speak  of  a  catastrophe 


106  KAEL  GUTZKOW'S  SHORT  STORIES 

unless  the  tragic  termination  of  each  of  the  heroine's  love  episodes  be  so 
regarded  and  her  death  be  considered  as  the  final  one. 

2.  The  Novellen 
(a)  Novellen  with  single  definite  turning  point 

The  stories  which  are  grouped  together  under  this  heading  possess  a 
similar  structure.  In  each  the  number  of  characters  that  assume  roles 
of  any  importance  is  limited  to  from  one  to  three,  the  threads  of  action 
are  quickly  interwoven,  the  compHcation  passes  rapidly  to  a  climax,  and 
the  denouement  and  conclusion  follow  without  delay.  The  method  of 
narration  is  the  "  straight-away "  combined  with  conversation.  The 
conciseness  of  this  method  makes  the  group  among  the  most  readable  of 
Gutzkow's  stories. 

An  exception  to  the  statement  that  the  progress  of  the  action  is 
always  swift  should  be  made  in  the  case  of  the  "Johannesfeuer"  and  the 
"Werwolf. "  However,  the  plot  is  the  same  in  these  stories  in  the  essen- 
tial features  of  straightforward  narration  and  definite  turning  point.  In 
distinction  from  the  novellen  considered  as  the  dramatic  type  they  lack 
sub-climaxes. 

"Arabella"  is  an  illustration  of  the  "clover-leaf"  plot.  The  heroine 
is  placed  between  the  man  whom  she  loves  and  the  man  to  whom  she 
owes  her  physical  beauty  and  whom  she  has  promised  to  marry.  The 
conflict  is  between  the  elemental  passions  of  love  and  vanity,  a  world-old 
theme.  Rivalry  between  men  for  the  possession  of  a  woman's  soul  and  the 
struggle  of  primitive  emotions  within  the  individual  is  another  way  of 
expressing  the  conflict.  There  is  one  main  action  and  one  group  of 
characters.  Absolutely  no  matter  external  to  the  development  of  the 
theme  is  admitted.  Philosophizing  and  moralizing  of  the  sort  found  in 
"Seraphine"  is  conspicuously  absent.  The  climax  is  reached,  the 
denouement  immediately  follows,  and  with  no  specifically  added  con- 
clusion the  story  ends  leaving  the  single  unified  impression  which  this 
type  should  leave. 

"Das  Stelldichein "  centers  about  the  letter  found  by  Count  Hugo. 
Both  the  count  and  the  reader  rem.ain  in  ignorance  of  the  origin  of  this 
missive  until  the  denouement.  The  plot  is  strictly  conventional  in  its 
subdivisions.  Thus  we  have  the  following  parts:  (1)  the  preliminary 
situation.  This  comprises  an  explanation  of  the  count's  circumstances 
and  character.     (2)  The  rising  action.     The  finding  of  the  letter  and  all 


KARL  GUTZKOW'S  SHORT  STORIES  107 

incidents  occuring  until  the  interview  is  held.  (3)  Climax  and  denoue- 
ment. The  interview  between  Hugo  and  his  wife.  (4)  Conclusion. 
Harmony  is  restored. 

The  element  of  paradox  appears  in  the  "  Stelldichein  "  in  the  nature 
of  the  turning  point.  This  is  both  decisive  and  surprising  and  yet 
reasonable  enough  to  be  readily  acceptable.  The  interpretations,  gen- 
uine and  mistaken,  which  are  made  of  the  letter  are  not  questioned  by 
the  reader. 

The  "Kurstauben"  returns  to  the  ''eternal  triangle"  arrangement 
of  characters.  Each  of  these  is  introduced  singly  during  the  course  of 
the  first  two  chapters,  after  which  the  plot  is  composed  of  an  inter- 
weaving of  all  three.  The  same  features  indicated  in  the  plot  of  the 
"Stelldichein"  with  respect  to  definite  and  simple  structure  may  be 
observed  here.  The  disentanglement  is  accomplished  in  a  surprisingly 
small  amount  of  space.  The  climax  is  a  prominent  point.  This  is 
reached  when  Herz  with  a  few  carelessly  spoken  words  exposes  to  Sancho 
Leontine's  subterfuge.  The  conclusion  indicates  in  a  very  brief  manner 
the  future  of  the  characters. 

"Konig  Franz  in  Fontainebleau "  possesses  a  rather  sHght  plot. 
The  characters  are  pleasing  studies  and  the  style  of  an  old  chronicle  in 
which  it  is  written  adds  charm  and  makes  it  a  very  readable  production. 
There  are  two  strands  of  action:  (1)  the  king,  (2)  the  lovers.  The  theme 
is  the  lovers'  deception  and  its  consequences.  The  turning  point  occurs 
when  upon  the  ringing  of  the  angelus  the  king  relents  and  restores  the 
young  couple  to  favor.  The  conclusion  which  sketches  the  subsequent 
history  of  the  two  accords  well  with  the  epic  tone  of  the  narrative. 

"Aus  dem  Schwabenland  "  is  also  simple  and  chronological  in  method 
of  narration.  It  deals  with  a  crisis  in  two  lives.  The  author's  evident 
purpose  was  to  illustrate  concretely  that  failure  to  live  up  to  one's  con- 
ceptions of  moral  obHgation  brings  its  own  punishment.  A  reference  to 
the  content  of  the  story  as  given  in  a  previous  chapter  will  show  clearly 
that  the  same  regular  structure  is  present  here  as  in  those  stories  just 
discussed.^ 

The  plot  of  "Das  Opfer"  is  a  simple,  straightforward  plot,  which 
constantly  increases  in  interest  and  intensity  until  the  climax  is  reached. 
The  falling  action  is  very  slight.  The  conflict  which  is  staged  in 
Gabriele's  soul  is  the  one  strand  of  action.  The  problem  is  thus  a 
psychological  one  and  is  carefully  solved. 

'  Cf.  above  p.  40. 


108  KARL  GUTZKOW'S  SHORT  STORIES 

The  opening  lines  present  a  background  of  quiet  domestic  surround- 
ings. Following  this  the  earUer  love  episode  is  introduced  and  the 
complication,  in  this  instance,  Gabriele's  divided  allegiance,  is  then 
developed  and  her  anomalous  position  with  respect  to  her  husband  is 
skilfully  set  forth.  The  rising  action  extends  through  the  incident  of 
the  child's  sickness  up  to  the  point  when  Gabriele  is  convinced  of  the 
peril  which  lies  in  her  attitude  and  solemnly  vows  to  renounce  the 
former  love  if  the  child's  life  is  saved.  This  moment  is  the  supreme 
crisis  in  both  the  novelle  and  Gabriele's  life.  The  falling  action  then 
sets  in  immediately.  Interest  does  not  wane,  however,  but  continues 
throughout  the  paragraphs  devoted  to  Gabriele's  illness  and  recovery 
and  is  still  keen  at  the  end  when  she  dramatically  fulfills  her  vow. 

"Das  Opfer"  is  close  and  compact  in  structure,  with  all  details  strictly 
subordinated  to  the  central  theme,  a  representation  of  a  supreme  crisis 
in  a  human  life  that  would  readily  classify  under  the  American  definition 
of  the  short  story. 

The  plot  of  the  "  Johaimesf euer  "  is  composed  of  two  strands  of  action 
represented  by  the  chief  characters.  The  complication  is  caused  by 
the  obstacles  interposed  to  prevent  their  marriage.  These  obstacles 
and  the  mystery  of  the  identity  of  the  mysterious  poet,  Hugo  Ubaldi, 
are  the  means  employed  for  producing  suspense.  Each  of  the  principal 
actors  has  a  close  friend  who  shares  the  action  with  him.  In  the  first 
chapter  Ottihe  and  her  friend,  Frau  Munde,  hold  the  center  of  the  stage. 
The  second  chapter  shifts  the  scene  to  Rother  and  Hipler.  The  third 
returns  to  Ottilie  and  in  addition  solves  the  mystery  that  shrouds  the 
unknown  poet.  The  next  chapter  again  takes  up  Rother  and  relates 
his  previous  history.  The  two  strands  of  action  are  interwoven  in  the 
fifth  chapter  and  the  denouement  is  reached  when  the  lovers  become 
united.     A  brief  conclusion  indicates  that  a  happy  life  is  the  result  of  this. 

The  plot  shows  no  new  points  of  technique.  As  developed  in  this 
instance,  it  seems,  in  fact,  very  conventional  and  not  extremely  convinc- 
ing. The  point  upon  which  the  whole  story  revolves  seems  scarcely 
adequate  to  support  the  weight  of  details  which  are  amassed. 

The  "Werwolf"  like  the  " Johannesfeuer "  shows  no  new  plot  techni- 
que. The  obstacles  that  beset  the  path  of  the  lovers  furnish  the  sus- 
pense in  this  story  also.  There  are  only  two  main  lines  of  action,  those 
represented  by  Sigmund  and  Placida  and  their  respective  friends.  These 
alternate  in  opposing  and  co-operating  with  each  other.  Finally  they 
are  united  and  the  story  is  brought  to  a  conventional  close.  The  his- 
torical framework  is  appropriate  but  is  rather  too  serious  and  difficult 
for  an  easy  understanding. 


KARL  GUTZKOW'S  SHORT  STORIES  109 

(b)  The  Analytic  Type 

The  two  stories  which  have  been  classified  under  the  above  heading, 
the  "Konigin  der  Nacht"  and  "Eine  Phantasieliebe, "  undertake  the 
solution  of  definite  questions,  and  the  method  by  which  this  is  accom- 
plished is  the  characteristic  feature  of  the  technique.  Both  may  be 
classed  as  mystery  stories  and  as  character  studies  as  well.  "Eine 
Phantasieliebe"  is  an  especially  excellent  portrayal  of  an  interesting 
character  placed  in  an  environment  which  is  unsuitable  for  it. 

There  are  two  questions  propounded  in  the  "Konigin  der  Nacht." 
First,  did  the  prince  have  a  secret  love  affair  with  the  opera  singer 
Laboiska?  Second,  what  caused  the  disappearance  of  the  cactus  blos- 
som? The  former  problem  is  stated  early  in  the  story,  the  second  is 
introduced  much  later.  The  course  followed  in  the  solution  is  from 
effects  back  to  causes.  The  princess  unravels  the  threads  of  mystery 
in  both  cases  and  one  operation  obtains  the  answers  to  both. 

In  "Eine  Phantasieliebe"  the  separation  of  the  Count  and  the 
Countess  of  Wartenberg  has  already  taken  place.  The  problem  is  to 
account  for  this  situation.  Several  alleged  reasons  are  shown  to  be 
false  and  then  the  author  develops  his  own  ingenious  explanation.  This 
is  based  upon  the  influence  which  a  childhood  dream  of  the  heroine,  when 
coupled  with  a  number  of  coincidences  from  life,  exerts  upon  Imagina. 

The  plot  presents  a  considerable  degree  of  complexity  due  principally 
to  the  element  of  love.  A  quadrangle  alignment  of  characters  that  is 
divisible  into  several  triangle  formations  is  a  conspicuous  feature.  Thus 
the  four  figures  are  as  follows:  (1)  Imagina.  (2)  Wartenberg.  (3) 
Feodora  Zaluski.  (4)  Otto  Sudberg.  The  various  triangles  which  are 
deducible  from  these  are:  A.  (1)  Imagina,  (2)  Wartenberg,  (3)  Feodora; 
B.  (1)  Wartenberg,  (2)  Feodora,  (3)  Sudberg;  C.  (1)  Feodora,  (2)  Sud- 
berg, (3)  Imagina;  D.  (1)  Sudberg,  (2)  Imagina,  (3)  Wartenberg.  The 
interrelationships  of  the  members  of  these  groups  may  be  noted  in  the 
chapter  upon  motives.^ 

The  four  characters  of  the  preceding  paragraph  are  so  many  active 
forces  in  the  novelle.  The  Landrath  is  a  fifth.  Madame  Milde  is  an 
inactive  figure  whose  principal  office,  as  has  been  indicated  elsewhere, 
is  to  characterize  the  heroine.^  The  various  opposing  figures  come  into 
conflict  but  no  far  reaching  catastrophe  occurs.  Imagina's  sacrifice 
and  renunciation  in  order  to  save  Sudberg  marks  the  climax  and  takes 


■*  Cf.  above  p.  53. 
^  Cf.  above  p.  87. 


110  KARL  GUTZKOW'S  SHORT  STORIES 

the  place  of  the  more  powerful  catastrophes  that  occur  in  the  stories 
of  the  dramatic  t>'pe.  The  conclusion  and  the  beginning  of  the  novelle 
represent  the  same  point  in  both  time  and  relationship  of  the  characters 
to  one  another. 

(c)  The  Dramatic  Type 

The  three  novellen  listed  as  possessing  dramatic  structure  show  very 
clearly  the  plot  requirements  of  the  drama:  the  initial  situation,  the 
introduction  to  the  complication,  development  to  a  climax,  and  the 
denouement  or  conclusion.  In  addition  to  the  structure  of  the  stories 
considered  as  novellen  possessing  a  single  definite  turning  point  these 
contain  sub-climaxes  which,  however,  are  well  subordinated  to  the 
grand  climax  and  add  to  the  effect  of  the  latter. 

The  "Sadduzaer  von  Amsterdam"  shows  a  surprising  advance  in 
technique  over  the  stories  which  had  preceded  it,  "Der  Prinz  von  Mada- 
gascar" and  the  "  Kanarienvogels  Liebe  und  Leid. "  It  exhibits  a  plot 
so  well  unified  and  ably  constructed  from  numerous  strands  that  it  has 
won  praise  from  so  strict  a  critic  as  Paul  Heyse.  It  is  logical  and  com- 
pact and  with  condensation  of  m.aterial  and  rapidity  of  movement  ad- 
vances with  certainty  from  initial  incident  to  the  final  catastrophe. 
After  the  setting,  which  includes  the  time,  the  place,  and  a  short  sketch 
of  Uriel  Acosta's  previous  career,  has  been  given,  the  hero  makes  his 
entrance  upon  the  stage  and  from  that  m^oment  until  the  conclusion  is 
reached,  he  remains  constantly  in  the  foreground.  The  incidents  which 
are  concerned  with  Uriel's  love  for  Judith  and  the  growth  of  his  xehgious 
skepticism  contribute  to  the  rising  action  which  at  once  interests  the 
reader  deeply  and  leads  rapidly  to  one  of  the  cUmaxes  of  the  novelle, 
the  first  excommunication.  When  this  point  has  been  reached,  the 
dramatic  Hne  abruptly  falls  to  the  level  of  the  beginning,  and  remains 
upon  this  level  until  the  incidents  connected  with  Uriel's  flight  and 
Judith  and  Ben  Jochai's  attempts  to  find  and  rescue  him  have  been 
related  and  he  has  been  restored  to  the  church. 

Very  soon,  however,  with  the  stirring  into  new  life  of  his  old  religious 
doubts  as  Uriel  once  more  busies  himself  with  matters  of  creed  and  prac- 
tice, the  dramatic  line  begins  a  second  ascent  and  progresses  with  in- 
creasing rapidity  until  a  culminating  point  is  reached  in  another  ex- 
communication. The  line  drops  again  to  its  former  level  and  from  this 
point  on  the  catastrophe  approaches.  Uriel's  imprisonment,  his  repen- 
tance and  endeavor  to  atone  for  his  heterodoxy,  his  public  confession, 
and  the  humiliation  to  which  he  is  forced  to  submit,  are  that  many  means 


KARL  GUTZKOW'S  SHORT  STORIES  111 

of  suspense  by  which  the  author  postpones  the  catastrophe  and  keeps 
the  reader  in  anxiety  and  doubt  of  the  final  outcome.  But  when  these 
measures  prove  unavaihng  and  Uriel  has  at  last  become  firmly  con- 
vinced of  Ben  Jochai's  treachery,  the  passion  for  revenge  quickly  leaps 
into  life,  the  action  acquires  a  rapidity  heretofore  unequaled,  and  the 
double  tragedy,  the  accidental  shooting  of  Judith  and  the  suicide  of 
Uriel,  provides  the  long  inevitable,  but  many  times  deferred,  catastrophe. 
A  final  paragraph  is  devoted  to  relating  the  consequences  upon  the 
survivors  and  furnishes  a  fitting  close  to  the  whole  recital. 

The  action  throughout  the  "Sadduzaer  von  x\msterdam"  is  rapid 
and  straightforward.  Retardations  occur,  but  are  skilfully  employed, 
and  being  overcome,  contribute  to  the  unified  impression  of  the  plot. 
The  problem  is  psychological  in  nature,  and  the  solution  which  is  pre- 
sented in  a  novelle  closely  approaching  in  structure  the  drama,  is  a 
forerunner  of  the  author's  later  play,  "  Uriel  Acosta. " 

Not  only  is  the  plot  of  the  "Sadduzaer  von  Amsterdam"  dramatic 
in  structure,  but  it  is  also  a  complex  plot  composed  of  several  strands 
of  action  closely  intertwined  and  all  wrapped  tightly  around  the  central 
theme  of  Uriel's  fate.  These  separate  strands  are  as  follows:  (1)  Uriel's 
internal  religious  struggle;  (2)  Uriel's  external  struggle  against  the 
orthodox  church:  (3)  the  conflict  between  Uriel's  sincerity  of  belief 
and  his  love  for  Judith;  (4)  Ben  Jochai's  secret  treachery  toward 
Uriel.  Each  one  of  these  plot  elements  is  present  at  all  times,  the  im- 
portance of  the  part  played  varying  at  different  stages  of  the  action.  All 
are  skilfully  interwoven  and  exercise  an  increasing  power  as  the  cul- 
mination approaches.  The  knot  which  they  tie  can  be  cut  only  by  the 
catastrophe.  An  untying  strand  by  strand  is  impossible  in  the  case  of 
an  individual  such  as  Uriel  is  shown  to  be. 

The  plot  of  the  "  Wellenbraut "  is  complicated  by  a  greater  number 
of  characters  and  consequent  lines  of  action  than  any  of  the  stories 
which  precede  it  in  point  of  time  except  "Seraphine. "  The  sequence 
is  usually  alternating  but  occasionally  two  or  more  become  interwoven. 
The  four  strands  are  represented  by  Idaline,  Theobald,  Waldemar,  and 
the  circle  of  the  governing  class  exclusive  of  Waldemar.  The  last  of 
these  is  of  little  importance  after  it  has  been  used  to  show  Theobald's 
antagonism  to  the  nobility. 

The  first  two  chapters  contain  the  initial  incident,  the  meeting  of 
Idaline  and  Theobald,  and  foreshadow  the  nature  of  the  future  plot 
development.  Chapters  three,  four,  and  five  deal  respectively  with  Theo- 
bald, Idaline,  and  Waldemar.     The  necessary  exposition  is  presented  at 


112  KARL  GUTZKOW'S  SHORT  STORIES 

this  time  and  the  direction  which  events  will  later  take  becomes  in- 
creasingly more  evident.  Chapters  six  and  seven  continue  the  develop- 
ment. In  the  former  Theobald's  democratic  ideals  and  his  hatred  of 
class  distinctions  is  amplified,  in  the  latter  Idahne's  interest  in  Theobald 
is  seen  to  deepen  until  she  thinks  temporarily  of  asserting  her  determina- 
tion, abandoning  her  marriage  with  the  count,  and  Hving  a  life  of  her 
own  choosing.  She  fails  to  do  this,  however,  and  chapter  eight  witnesses 
her  union  with  Waldemar.  Theobald  drops  out  of  sight,  the  threatened 
crisis  appears  to  have  been  safely  passed,  and  a  quiet,  uneventful  married 
life  promises  to  result.  In  the  next  chapter  this  condition  suddenly 
changes.  Waldemar  is  called  away.  The  lives  of  Theobald  and  Idaline 
come  together  once  more.  The  action  proceeds  rapidly  throughout 
the  next  three  chapters  until  it  ends  abruptly  with  the  reappearance  of 
the  count,  the  flight  of  Theobald,  and  the  death  of  Idaline.  The  catas- 
trophe, which  has  been  averted  for  a  time  in  a  manner  recalling  the  tech- 
nique of  the  "Sadduzaer  von  Amsterdam,"  finally  comes  and  is  over- 
powering. A  brief  concluding  chapter  indicates  the  effect  upon  the 
survivors. 

The  dramatic  structure  of  this  novelle  is  apparent  from  the  preceding 
analysis.  The  leading  characters  are  brought  together  in  the  opening 
chapters  and  the  seeds  of  the  inevitable  tragedy  are  planted.  The 
ascending  action  does  not  proceed  far  until  it  receives  checks.  Con- 
vention in  the  form  of  social  class  distinction  and  the  marriage  of  Idaline 
are  obstacles  that  impede  the  natural  course  of  events.  A  period  of 
horizontal  action  follows  this  minor  climax.  Then  chance  unites  the 
two  strands  and  the  second  ascending  action  hastens  rapidly  toward 
the  catastrophe  and  concludes  with  an  extremely  brief  falling  action. 

The  "  Wellenbraut "  is  an  example  of  a  plot  form  which  Gutzkow  fre- 
quently employs  with  good  success.  The  plot  is  unified  by  a  strict 
adherence  to  the  central  theme.  The  three  principal  hues  of  action  are 
skiKully  and  effectively  interwoven  and  rest  upon  a  motivation  suffi- 
ciently well  grounded  to  account  for  the  consequences  depicted. 

The  plot  in  the  "Selbsttaufe"  is  also  composed  of  numerous  threads 
of  action.  Here,  as  in  the  "Wellenbraut,"  there  are  four  principal 
bearers  of  the  action  and  the  importance  of  the  fourth  diminishes  greatly 
in  each  as  the  story  proceeds.  These  strands  are  represented  by:  (1) 
Ottfried,  (2)  Agathe,  (3)  Sidonie,  and  (4)  Wallmuth. 

The  characters  are  separately  introduced.  The  opening  chapter 
deals  almost  entirely  with  Wallmuth  and  makes  only  scanty  reference 
to  Agathe  and  Sidonie.     The  second  chapter  is  devoted  to  a  lengthy 


KARL  GUTZKOW'S  SHORT  STORIES  113 

characterization  of  Wallmuth  and  Sidonie.  Chapter  three  through  the 
agency  of  Agathe's  letter  reveals  that  young  woman's  character  and 
also  Ottfried's.  Agathe  is  again  the  subject  of  the  fourth  chapter. 
From  this  point  until  the  end  is  reached  the  plot  threads  are  more  or 
less  closely  intertwined  and  this  interlacing  constitutes  the  principal 
feature  of  the  technique.  No  one  character  receives  an  undue  amount 
of  attention. 

The  dramatic  structure  is  first  apparent  in  the  rising  action  and 
reaches  a  minor  climax  when  Agathe  and  Gottfried  enter  upon  their 
engagement.  The  father's  interference  and  attempt  to  rigidly  control 
the  relations  between  the  engaged  couple  is  a  retarding  force  which 
abruptly  terminates  the  upward  course  of  the  action.  The  complication 
again  sets  in  following  the  meeting  of  Agathe  and  Gottfried  and  the 
reconciliation  with  Wallmuth.  The  major  cHmax  comes  after  a  second 
period  of  rising  action  when  Ottfried  fails  to  appear  at  the  dinner  where 
his  engagement  is  to  be  announced.  Immediately  after  this  the  falling 
action  begins  and  continues  until  it  terminates  in  the  catastrophe, 
Agathe's  death. 

(d)  The  Longer  Novellen 
The  three  novellen  that  remain  to  be  discussed  are  the  longest  and 
most  complex  of  Gutzkow's  short  stories.  They  are  more  nearly  akin 
than  any  of  the  others,  with  the  exception  of  "Seraphine,"  to  the  novel, 
but  they  are  distinctly  novellen  in  that  they  produce  the  totality  of  impres- 
sion that  is  the  essential  quality  of  this  species.  The  number  of  char- 
acters in  each  is  large  but  skilfully  handled.  The  threads  of  action 
weave  in  and  out  but  always  under  careful  control.  The  firm  ground 
of  reality  is  never  left  by  the  author  and  the  setting  is  in  each  instance 
appropriate. 

The  love  of  Ernst  Oswald  and  Ernestine  Waldmann  is  the  connecting 
bond  in  the  "  Emporblick. "  This  romance  is  subjected  to  numerous 
interruptions  each  of  which  is  a  factor  in  producing  suspense.  The 
negative  force  which  opposes  the  lovers  is  personified  in  Scharfneck, 
the  only  other  character  to  occupy  a  position  approximating  that  of 
equal  prominence  with  Ernst  and  Ernestine.  The  conflict  between 
these  individuals  is  symbolic  of  the  class  struggle  which  is  a  feature 
of  modern  life.  The  tone  of  the  narrative  as  a  whole  is  tinged  with  sad- 
ness but  hope  is  also  expressed  for  future  success  in  uniting  the 
antagonistic  strata  of  society. 


114  KARL  GUTZKOW'S  SHORT  STORIES 

Complexity  of  plot  is  increased  in  the  "  Emporblick  "  by  the  presence 
of  two  intercalated  stories.  This  necessitates  a  second  group  of  char- 
acters and  two  place  and  time  settings,  although  characters  and  settings 
of  all  parts  overlap  somewhat.  These  minor  plots  do  not  detract  from 
the  degree  of  technical  skill  exhibited  but  are,  on  the  contrary,  skilfully 
inserted  and  form  integral  parts  of  the  main  plot. 

The  "Emporblick"  is  a  7iovelIe  with  a  purpose,  but  a  purpose  that 
is  not  obtrusively  foisted  upon  the  reader.  It  is  of  a  nature  also  which 
one  is  inclined  to  sympathize  with  and  accept,  and  for  this  additional 
reason  it  is  not  distasteful. 

The  remaining  novellen,  the  "NihiHsten"  and  the  "  Diakonissin, " 
also  contain  many  characters  and  possess  complex  plots  of  the  closely 
interwoven  type.  Both  present  interesting  studies  of  the  reaction  of 
environment  upon  individuals  and  portray  vividly  certain  angles  of 
life.  The  former  shows  development  of  character  in  response  to  external 
influences.  The  latter  deals  with  fixed  characters.  In  neither  story 
does  any  one  figure  monopolize  the  forefront  of  the  action. 


CONCLUSION 

The  novelle  is  a  literary  genre  of  comparatively  recent  appearance 
in  German  literature.  At  the  beginning  of  the  nineteenth  century 
it  was  little  known  and  was  generally  regarded  as  an  inferior  form.  No 
critical  theory  had  at  that  time  been  framed  for  it.  During  the  nine- 
teenth century,  however,  it  attracted  an  increasingly  greater  amount 
of  attention  from  both  authors  and  critics  and  passed  through  a  sur- 
prising development.  Important  contributions  to  the  theory  of  its 
technique  were  made  by  the  Schlegel  brothers,  Goethe,  Tieck,  Mundt, 
and  others,  finally  culminating  in  what  is  at  present  the  best  statement 
of  the  theory  of  the  novelle  by  Heyse,  the  silhouette-and-fakon  theory. 

At  the  same  time  the  novelle  has  become  a  favorite  literary  species 
with  both  authors  and  readers  and  has  acquired  a  rare  perfection  of 
technique  The  foremost  writers  of  the  novelle  prior  to  1835  were 
Goethe,  Kleist,  Hofifmann,  and  Tieck.  Most  of  the  characteristics  of 
the  present  day  type  may  be  found  in  their  stories.  Goethe  and  Kleist 
deepened  the  psychological  aspect  of  the  7iovelle,  Hoffmann  developed 
the  novelle  of  mood,  or  atmosphere,  and  Tieck  wrote  largely  the  didactic 
type.  The  productions  of  the  last  named  became  especially  the  models 
of  the  "Young  Germans"  owing  to  their  timely  appearance,  their  realism, 
the  permission  which  they  extended  to  discuss  current  questions,  and 
their  lack  of  strict  artistic  requirements  of  form. 

The  "Young  German"  movement  was  one  manifestation  of  the 
widespread  awakening  which  occurred  in  all  departments  of  life  and 
thought  during  the  first  half  of  the  nineteenth  century.  It  was  a  very 
frankly  liberal  movement,  which  eagerly  welcomed  all  that  appeared 
that  was  new  in  the  fields  of  aesthetics,  social  reform,  and  religion.  In 
many  respects  it  bore  a  decided  resemblance  to  the  earlier  "Storm  and 
Stress."  It  was  intensely  opposed  to  Romanticism  which  had  caused 
life  and  literature  to  drift  apart.  The  "Young  Germans"  were  realistic 
and  democratic  and  desired  to  close  the  gap  which  had  thus  been  opened. 
In  this  respect  they  had  the  support  of  many  not  their  immediate  compa- 
triots. 

Karl  Gutzkow  stands  as  the  ablest  leader  of  this  movement  within 
Germany.  In  a  long  and  extremely  active  career  he  held  firmly  to  the 
ideal  of  putting  literature  into  the  service  of  life.  His  most  effective 
work  was  done  in  the  field  of  the  novel  and  especially  in  his  practice  of 
the  theory  of  the  "  Nebeneinander. "     In  the  presentation  in  literature 


116  KARL  GUTZKOW'S  SHORT  STORIES 

of  the  complexity  of  our  modern  civilization  he  was  a  valuable  pioneer. 
His  contribution  to  the  theory  of  the  novelle  is  much  less  important. 
It  may  be  considered  almost  negligible. 

His  short  stories  themselves,  however,  constitute  a  side  of  his  activity 
that  deserves  attention.  Owing  to  the  vast  amount  of  his  works  these 
have  hitherto  been  seriously  neglected.  Little  criticism  has  been  writ- 
ten upon  them  and  that  little  has  not  been  discriminating  in  quality. 
The  preceding  study  has,  however,  led  to  a  number  of  important  con- 
clusions which  aid  in  characterizing  Gutzkow  as  a  writer  of  this  genre. 

His  technique  reveals  a  preponderating  use  of  the  external  viewpoint 
in  relating  these  stories.  Occasional  instances  of  an  internal  viewpoint 
are  found  in  the  insertion  of  diaries,  letters,  and  other  documents. 

An  analysis  of  the  motives  reveals  a  large  range  of  these  both  psy- 
chological and  external.  All  three  realms  from  which  according  to 
Goethe  motives  can  be  taken  are  entered.  Those  of  the  internal  world 
are  most  numerous,  those  of  the  external  world  are  next  in  point  of 
number,  and  the  world  of  the  fantastic  and  the  wonderful  is  entered 
least  often. 

The  influence  of  the  Romanticists  upon  Gutzkow  is  slight  and  shows 
itself  only  in  external  features.  The  philosphy  of  Romanticism  does  not 
underlie  any  of  his  works.  They  are,  on  the  contrary,  reahstic  and 
firmly  grounded  upon  a  modern  view  of  hfe. 

Gutzkow  is  objective  in  his  manner  of  relation.  This  is  not  intended 
to  deny  the  presence  of  occasional  comments  and  generalizations  given 
in  the  author's  proper  person  but  long  interpolated  discussions  are 
seldom  found.  The  author  frequently  makes  evident  his  individual 
attitude  but  usually  by  indirect  and  more  artistic  means. 

The  stories  reveal  a  complexity  of  characters  and  problems  but  no 
one  type  predominates.  The  characters  are  taken  from  a  wide  social 
domain  and  hence  embrace  a  large  number  of  types  and  represent  many 
stations  in  life.  They  present  in  miniature  the  panorama  which  the 
author's  longer  novels  present  in  full. 

Environment  is  important  in  many  instances.  The  characters  are 
often  good  or  evil,  class  conscious  or  elevated  above  this,  according 
to  their  surroundings. 

Considerable  range  in  variety  and  complexity  of  plot  construction 
is  evidenced  in  these  novellen.  The  stories  which  have  been  analyzed 
vary  in  their  internal  structure  from  sketches  possessing  little  or  no 
plot  to  those  that  exhibit  a  definite  dramatic  composition.     The  threads 


KARL  GUTZKOW'S  SHORT  STORIES  117 

of  plot  are  often  numerous  and  skilfully  handled.  In  many  a  turning 
point  similar  to  that  which  Tieck  makes  the  basis  of  his  theory  is  plainly 
evident. 

A  place  of  such  importance  in  the  field  of  the  novelle  as  he  deserves 
in  that  of  the  novel  and  of  the  drama  can  not  be  claimed  for  Gutzkow. 
Nevertheless  the  qualities  which  have  earned  him  permanent  recognition 
in  those  related  genres  characterize  him  in  this  as  well  and  secure  for 
him  a  modest  but  respectable  position  among  the  many  German  writers 
who  have  aided  in  bringing  the  novelle  to  its  present  high  development. 


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KARL  GUTZKOW'S  SHORT  STORIES  119 

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Heinrich  von  Kleist.     Dritte  Auf^age.     Berlin,  1903. 


120  KARL  GUTZKOW'S  SHORT  STORIES 

Davidts,  Hermann. 

Die  novellistische  Kunst  Heinrichs  von  Kleist.     Berlin,  1913. 
Dresch,  J. 

Le  Roman  social  en  Allemagne.     (1850-1900)     Paris,  1913. 
Eichentopf,  Hans. 

Theodor  Storms  Erzahlungskunst  in  ihrer  Entvvickelung.     Diss.     Marburg,  1908. 
EUinger,  Georg. 

E.  T.  A.  Hoffmann.     Sein  Leben  und  seine  Werke.     Hamburg  und  Leipzig,  1894. 
Gamier,  T.  D. 

Zur  Entwickelungsgeschichte  der  Novellendichtung  Ludwig  Tiecks.     Giessen, 

1899. 
Greiner,  Wilhelm. 

Die  ersten  Novellen  Otto  Ludwigs  und  ihr  Verhiiltnis  zu  Ludwig  Tieck.     Diss. 

Jena,  1903. 
Giinther,  Kurt. 

Die  Entwickelung  der  novellistischen  Kompositionstechnik  Kleists  bis  zur  Meister- 

schaft.     Diss.     Leipzig,  1911. 
Herzog,   Wilhelm. 

Heinrich  von  Kleist.     Sein  Leben  und  sein  Werk. 
Hoffman,  E.  T.  A. 

Samtliche  Werke.     Historisch-kritische  Ausgabe  mit  Einleitungen,  Anmerkungen 

und  Lesarten  von  Carl  Georg  von  Maassen.     Miinchen  und  Leipzig,  1912. 
Kaiser,  Wilhelm. 

Untersuchungen   iiber    Immermanns   Technik.     Diss.     Halle,    1906. 
Karsen,  Fritz. 

Henrik  Steffens  Romane.     Diss.     Leipzig,  1908. 
Klemperer,  Victor. 

Forschungen  zur  neueren  Literaturgeschichte.     1912-1913.     XLHL     Die  Zeit- 

romane  Friedrich  Spielhagens  und  ihre  Wurzeln. 
Kurz,  Werner. 

F.  M.  Klingers  "Sturm  und  Drang."     Halle,  1913. 
Liider,  Fritz. 

Die  epischen  Werke  Otto  Ludwigs  und  ihr  Verhaltnis  zu  Charles  Dickens.     Diss. 

Leipzig,   1910. 
Ludwig,  Otto. 

Gesammelte  Schriften  herausgegeben  von  Adolf  Stern.     Leipzig,  1891. 
Miiller-Ems,  Richard.  , 

Otto  Ludwigs  Erzahlungskunst.     Berlin,  1905. 
Pinthus,  Kurt. 

Die  Romane  Levin  Schiicklings.     Diss.     Leipzig,  1911. 
Reinicke,  Charlotte. 

Studien  zu  Halms  Erzahlungen  und  ihrer  Technik.     Diss.     Tubingen,  1912. 
Roggen,  Emil. 

Die  Motive  in  Auerbachs  Dorfgeschichten.     Diss.     Bern,  1913. 
Sakheim,  Arthur. 

E.  T.  A.  Hoffmann.     Studien  zu  seiner  Personlichkeit  und  seinen  Wcrken.     Leip- 
zig, 1908. 


KARL  GUTZKOW'S  SHORT  STORIES  121 

Scheuermann,  Elisabeth. 

Studien  zu  den  Romanen  von  Theodor  Hermann  Pantenius  und  ihrer  Technik. 

Diss.     Bern,  1911. 
Seuffert,  B. 

Goethes  "Novelle."     Goethe  Jahrbuch,  XIX,  133. 

D.  Special  Reference  Works  on  "Young  Germany" 

Bergmann,  Ernst. 

Die  ethischen  Probleme  in  den  Jugendschriften  der  Jungdeutschen.     (1833-35) 

Diss.     Leipzig,  1906. 
Bloesch,  Hans. 

Das  junge  Deutschland  in  seinen  Beziehungen  zu  Frankreich.     Bern,  1903. 
Brandes,  Georg. 

Die  Hauptstromungen  der  Literatur  des  neunzehnten  Jahrhunderts.     Bd.  VI. 

Das  junge  Deutschland.     Translated  into  English  by  ]\Iary  Morrison.     London, 

1905. 
Draeger,  Otto. 

Theodor  Mundt  und  seine  Beziehungen  zum  jungen  Deutschland.     Marburg, 

1909. 

Dresch,  J. 

Gutzkow  et  la  jeune  Allemagne.     Paris,  1904. 
Geiger,  Ludwig. 

Das  junge  Deutschland  und  die  preussische  Censur.     Berlin,   1900. 
Houben,  H.  H. 

Jungdeutscher  Sturm  und  Drang:  Ergebnisse  und  Studien.     Leipzig,  1911. 
Lublinski,  S. 

Litteratur  und  Gesellschaft  im  neunzehnten  Jahrhundert.     Bd.  III.     Das  junge 

Deutschland.    Beriin,  1900. 
Noe,  Adolf  Carl  von. 

Das  junge  Deutschland  und  Geothe.    Diss.     Chicago,  1910. 
Price,  L.  M. 

The  Attitude  of  Gustav  Freytag  and  Julian  Schmidt  toward  English  Literature. 

(1848-1862)     Gottingen,  1915. 
Proelss,  Johannes. 

Das  junge  Deutschland.     Stuttgart,  1892. 
Schweizer,  Viktor. 

Ludolf  Wienbarg.     Beitrage  zu  einer  jungdeutschen  Aesthetik.    Leipzig,  1898 . 
Wehl,  Feodor. 

Das  junge  Deutschland.    Hamburg,  1886. 
Wienbarg,  Ludolf. 

Aesthetische  Feldzuge.     Dem  jungen  Deutschland  gewidmet.    Hamburg,  1834. 


122  KARL  GUTZKOW'S  SHORT  STORIES 

E.  Karl  Gutzkow's  Works  axd  Special  Reference  Works  ox  Gutzkow 

Caselmann,  August. 

Karl  Gutzkows  Stellung  zu  den  religios-ethischen  Problemen  seiner  Zeit.     Augs- 
burg, 1900. 
Deutsche  Literaturdenkmale  des  18.  und  19.  Jahrhunderts.     No.  132.     Die  Deutsche 

RcNoic  von  Karl  Gutzkow  und  Ludolf  Wienbarg.     1835.     Herausgegeben  von 

J.  Dresch. 
Furst,  Rudolf. 

Karl    Gutzkow:  Eine    Siikularbetrachtung.     Biihne    und    Welt.     XIII.     Jahr- 

gang.     II.     Halbjahr.     1910-1911.     Pp.  32-38. 
Goedeke,  Karl. 

Die  Gegenwart.     1879.     Pp.  394-396.     Karl  Gutzkow. 
Gottschall,  Rudolf  von. 

Literarische  Todtenklange  und  Lebensfragen.     Berlin,  1885. 
Gutzkow,  Karl. 

Gesammelte  Werke.     Jena,  1872. 

Werke.     Herausgegeben  von  Peter  Muller.     Leipzig  und  Wien,  1911. 

Ausgewahlte  Werke  in  12.  Bdn.     Herausgegeben  von  H.  H.  Houben.     Hesse. 

Bd.  5-7.     Kleine  Romane  und  Erzahlungen. 

Die  Ritter  vom  Geiste.     Sechste  Auflage.     Berlin,  1878. 

Der  Zauberer  vom  Rom.  Zwolfte  Auflage.     Leipzig,  1911. 

Wally,  die  Zweiflerin.     Kritische  Ausgabe  von  Eugen  Wolff.     Jena,  1905. 

Meisterdramen.     Mit  einer  Einleitung  von  Eugen  Wolff.     Jena. 
Houben,  H.  H. 

Studien  iiber  die  Dramen  Karl  Gutzkows.     Jena,  1899.     Gutzkow-Funde.     Ber- 

Un,  1901. 
Jung,  Alexander. 

Briefe  iiber  Gutzkows  Ritter  vom  Geiste.     Leipzig,  1856. 
Rosenkranz,  Karl. 

Neue  Studien.     Zweiter  Band:  Studien  zur  Literaturgeschichte.     VIII.     Gutz- 
kows Ritter  vom  Geist.     Leipsig,  1875. 
Rieffert,  Bernhard. 

Karl  Gutzkows  Stellung  zur  Romantik.      Diss.     Munster,  1908.     Borna-Leipzig, 

1908. 


VITA 

The  writer  was  born  in  London,  Ontario,  August  3,  1889.  He  was 
graduated  from  the  High  School  at  Howell,  Michigan,  in  1907.  During 
the  four  years  from  1909  until  1913  he  attended  Albion  College,  Albion. 
Michigan,  from  which  institution  he  received  the  degree  of  Bachelor 
of  Arts  in  1913.  The  academic  year  1913-1914  he  held  a  Scholarship  in 
German  at  the  University  of  Illinois,  which  institution  conferred  upon 
him  the  degree  of  Master  of  Arts  in  1914.  The  following  two  years  he 
continued  graduate  work  as  Fellow  in  German  at  the  University  of 
Illinois.  The  present  dissertation  was  accepted  in  1917  as  fulfilling  the 
thesis  requirements  for  the  degree  of  Doctor  of  Philosophy,  which 
degree  the  University  conferred  upon  him  that  year.  Since  1916  he 
has  been  Professor  of  German  and  Head  of  that  Department  at  South- 
western College,  Winfield,  Kansas. 


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